Gabriel García Márquez Long Fiction Analysis
Gabriel García Márquez denies that the fictional world he describes in his novels is a world of fantasy. In an article about fantasy and artistic creation in Latin America, he concludes: “Reality is a better writer than we are. Our destiny, and perhaps our glory, is to try to imitate it with humility, and the best that is possible for us.” Perhaps because García Márquez began writing as a journalist, this attitude permeates much of his writing, and this version of reality is reflected in his fiction. A deep-seated strain of antirationality underlies all of his fiction, which deals with Latin American “reality” in broad terms, rejecting the narrow regionalism of his literary fathers. The result is a type of fiction that transcends its regional base, a Faulknerian fiction that one critic of Spanish American literature, John S. Brushwood, called “transcendent regionalism.” A self-proclaimed admirer of Faulkner, García Márquez has worked toward a transcendent regionalism in nearly all his works, with varying degrees of success. His redefinition of realism implies a faithfulness to a higher truth, a mythical level of reality that a more pedestrian realism cannot comprehend. These three factors—antirationality, transcendent regionalism, and myth—are integral to the aesthetics of García Márquez’s fiction, aesthetics that balance journalistic depictions of historical events with fantastic stories and cultural myths.
(The entire section is 3891 words.)
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