of small farmers and merchants, garnered peasant support as they engaged in ambushes and retaliations rooted in family feuds, political affiliations (which are often inherited in Colombia), and government connections. Migrant peasants seeking work in other regions also became involved in the conflict. The government's loss of control in many areas resulted in multiple bids for power by local groups in towns and cities across the country.

During La Violencia, President Laureano Gomez, a Conservative, established a fascist government in an effort to regain control. However, he was overthrown by the military and populist President General Gustave Rojas Pinilla, who was also eventually removed from office by the military. Ultimately, the National Front, a coalition of Liberals and Conservatives, negotiated a truce. Garcia Marquez reported on many of these events as a journalist before incorporating them into his fictional works. La Violencia remains one of the most fictionalized events in Colombia's history.

The 1960s
In the 1960s, Colombia continued its struggle for economic development. Increased intervention by the United States heightened Colombia's dependence on foreign aid but did little to boost the economy. This decade was characterized by high unemployment, low coffee export prices, and economic stagnation. Under Conservative President Guillermo Leon Valencia, union workers received a forty percent wage increase, which led to skyrocketing inflation. Deflationary pricing resulted in significant unemployment. However, government policies later improved, and by the late 1960s, Colombia's economy was growing again. During this period, migration to urban areas persisted, and by 1970, over half of Colombia's population lived in cities.

Colombia Today
Due to unevenly distributed development, a significant economic gap between classes remains in Colombia. Approximately 20 percent of the population lives below the poverty line, many residing in slums on the outskirts of urban areas. Concerns about military intervention in the government, violence, and terrorism persist. Additionally, the country continues to grapple with a substantial drug-trafficking problem. Despite these challenges, the decades following La Violencia have seen Colombia become one of the most urbanized and modernized nations in Latin America.

Gabriel Garcia Marquez and History
Although little of Colombia's history is directly referenced in "The Handsomest Drowned Man in the World," it plays a significant role in Garcia Marquez's broader body of work. The village's isolation, the mythical sense of time, and the anonymity of the characters make the absence of historical context so pronounced that it prompts readers to question why Garcia Marquez chose to omit it deliberately. This technique of omission is also found in other works of magic realism. Critics suggest one reason for this approach is to protect the author, especially when writing controversial material in countries where freedom of speech is restricted by the government. By making the story "about" something other than their own country, writers can safely express controversial viewpoints. Another possibility is that Garcia Marquez avoids specific historical references to make the characters and actions representative of all people, rather than those of a particular place. Nonetheless, the villagers' kindness and love towards the drowned man, when contrasted against Colombia's violent and cruel past, become even more striking.

The discovery of a large drowned man on their shore sparks the imagination of the residents in a small fishing village.

Point of View
The straightforward narration of "The Handsomest Drowned Man in the World" hides a rather intricate narrative technique. When the villagers find a drowned man on their beach, they soon begin to admire and eventually love him as they prepare him for a proper burial. The third-person narrator, however, only depicts the man through the villagers' perspectives. The reader sees the drowned man through their eyes, not from an objective standpoint. Additionally, the narrative occasionally shifts away from the villagers, such as when an imaginary hostess frets over her chair, and he "never knowing perhaps that the ones who said don't go, Esteban, at least wait till the coffee's ready, were the ones who later on would whisper the big boob finally left, how nice, the handsome fool has gone." This sophisticated narrative style reveals insights not only about Esteban but also about the villagers as they perceive him within the scope of their lives.

Setting
The story's setting is more intricate than it initially appears. The village, unnamed and seemingly isolated from the outside world, evokes a sense of a distant, mystical land. The absence of modern technology, exemplified by their use of a primitive, wheelless sled to transport Esteban to his funeral, places the story in a timeless, almost prehistoric era. However, the seaside village closely resembles the coastal regions near Garcia Marquez's childhood home, and the mention of ocean liners at the story's conclusion confirms that this is a real location in the present day. Thus, the village exists as both a mythical, far-off place and a tangible, real-world locale, embodying elements of both magic and reality.

Magic Realism
Initially coined in the 1920s to describe a modern style of painting, the term "magic realism" later became associated with a specific genre of fiction, particularly that written by Latin American authors during the 1950s and 1960s. Magic realist fiction blends fantastical elements with realistic details. For instance, the arrival of a "Wednesday dead body" on the shore of a fishing village might not be inherently magical. What elevates the narrative into the realm of the extraordinary is the villagers' reaction, which is far from ordinary. The idea that a deceased man can profoundly impact a community accustomed to discovering drowning victims on their beach creates a sense of exceptionalism. The village's mythical anonymity and the story's ambiguously historical setting enhance this perception. Simultaneously, elements like the ocean liner at the story’s conclusion anchor it in a tangible reality. Therefore, the narrative straddles the line between fantasy and reality. The roots of magic realism are often attributed to various factors, including the superstitions of Latin America's indigenous peoples. In Garcia Marquez's case, his grandmother's magical storytelling significantly influenced his imagination from an early age.

Allusion
Allusion in literature happens when an element within a story hints at or indirectly references something beyond the story itself. Garcia Marquez is renowned for his skill in merging native South American legends with European myths and narratives. Even in a brief story like "The Handsomest Drowned Man in the World," one can detect allusions to the biblical story of Jonah (via the children's belief that the object washing ashore is a beached whale), Jonathan Swift's Gulliver's Travels (where a shipwrecked man washes ashore in a land of tiny people), and the Greek god Zeus, known for his numerous romantic exploits in Greek mythology. More explicit allusions include the idea that Esteban symbolizes the ancient god Quetzalcoatl, who in Aztec mythology embodies peace and self-sacrifice, emerging from the sea. Similar to Esteban, Quetzalcoatl departs by sea, leaving behind a promise of return that fosters lasting anticipation. Esteban's name also references two historical figures: St. Stephen, the first Christian martyr, whose name translates to Esteban in English, and Estevanico, an African explorer of parts of the New World in the 1500s.

Garcia Marquez also references the Greek warrior Odysseus, whose exploits are detailed in Homer's Odyssey. One of Odysseus's notable adventures involves sailing past the Sirens, whose enchanting songs could compel any listener to abandon their journey and turn towards them. The women's mourning at Esteban's funeral creates a similar effect: "Some sailors who heard the weeping from a distance went off course, and people heard of one who had himself tied to the mainmast, recalling ancient fables about sirens."

The numerous allusions in the story imply that the different cultures Garcia Marquez mentions are more interconnected than often perceived. Each culture has its own saints and heroes; "The Handsomest Drowned Man in the World" illustrates how these figures gain significance within their respective cultures.

Gabriel Garcia Marquez, often regarded as Colombia's preeminent author, has earned much of his acclaim through stories that operate on a mythical, almost allegorical level. "The Handsomest Drowned Man in the World" exemplifies this style, venturing into a fantastical realm seemingly detached from any specific time or place. Despite this, Garcia Marquez's upbringing in a coastal Colombian village during the turbulent 1930s deeply influenced his work. Although direct parallels to specific locations and eras can be drawn, the essence of Garcia Marquez's writing allows readers to perceive his characters as both local villagers and universal representations of humanity. "The Handsomest Drowned Man in the World" has consistently intrigued critics, whether they interpret the story as a commentary on Colombian history and politics or seek broader, more universal lessons from the narrative.

Colombia, once a part of the Spanish colonial empire known as New Granada, achieved independence from Spain in 1810. Throughout the nineteenth century, the country endured several civil wars. By the mid-1800s, the Liberals and Conservatives emerged as the primary political factions, subjecting Colombia to frequent and violent revolutions. The conflict peaked between 1899 and 1903 during the War of a Thousand Days. During this period, a stark divide persisted between wealthy elite landowners, often of European descent, and freed slaves and indigenous populations whose lands had been seized and redistributed. Concurrently, Colombia was striving to expand its export trade—primarily coffee, petroleum, and bananas—under Conservative leadership.

These conditions precipitated severe economic hardship for Colombia. The country's increasing reliance on export goods, whose value was plummeting on the global market, led to a deep economic depression. The Conservative government was eventually replaced by Liberal President Alfonso Lopez, who implemented significant land reforms. His major initiative involved redistributing land from unproductive wealthy landowners to peasant "squatters" who relied on their plots for survival.

Historically, the rivalry between Colombia's Liberal and Conservative parties has often been intensely hostile and violent. This animosity escalated during the period known as La Violencia from 1948 to 1962. Initially triggered by the assassination of Liberal leader Jorge Eliecer Gaitan, the ensuing fifteen years of violence were largely fueled by existing tensions between the two parties. Approximately 200,000 people lost their lives in the conflict, which was marked by extreme acts of cruelty.

La Violencia encapsulated a broad range of concerns within Colombia. In certain regions, peasants who had enhanced their land due to the 1930s land reform were forced to pay steep legal fees to secure property titles. Guerrilla leaders, often the offspring of small farmers and merchants, garnered peasant support by engaging in ambushes and retaliations rooted in long-standing family feuds, political party affiliations (which are inherited in Colombia), and government connections. Migrant groups of peasants seeking employment in different areas also became part of the conflict. As the government relinquished control in many regions, local groups in various towns and cities vied for power.

During La Violencia, Conservative President Laureano Gomez established a fascist government in an effort to regain control. He was subsequently overthrown by the military and populist president General Gustavo Rojas Pinilla, who was later ousted by the military as well. Eventually, the National Front, a coalition of Liberals and Conservatives, brokered a truce. Gabriel Garcia Marquez reported on many of these events as a journalist before incorporating them into his fictional works. La Violencia remains one of the most fictionalized periods in Colombia's history.

Although it might seem that Colombia's history is scarcely reflected in "The Handsomest Drowned Man in the World," it plays a significant role in Garcia Marquez's work. The village's isolation, the mythical sense of time, and the characters' anonymity make the absence of historical context so pronounced that one begins to question Garcia Marquez's deliberate omission of this information. This technique of omission is also prevalent in other works of magic realism. Critics suggest that it might be used to protect the author, especially when writing about controversial subjects in a country where freedom of speech is restricted by the government. By setting the story in a context other than their own country, writers can safely express controversial views. Another reason Garcia Marquez might avoid specific historical references is to make the characters and actions more universal, representing all people rather than those from a particular place. Nonetheless, the villagers' kindness and love for the drowned man, when contrasted with Colombia's violent and cruel past, stand out starkly.

1940s: Garcia Marquez writes several short stories that merge realistic elements with the fantastical. This narrative style, known as magic realism, gains popularity among Hispanic authors.

1990s: The magic realist novel Como agua para chocolate by Mexican author Laura Esquivel is translated into English as Like Water for Chocolate. The novel becomes a bestseller and inspires a well-received film adaptation.

Colombia, 1950s: Colombia is experiencing La Violencia, a fifteen-year period of turmoil that claims the lives of over 200,000 individuals.

Colombia, 1990s: Cocaine kingpin Pablo Escobar Gavira surrenders to Colombian authorities to avoid extradition to the United States. The profitable cocaine trade has led to numerous murders in recent years, including the killings of high-ranking officials.

Colombia, 1950s: The country’s major exports include fishing, forestry, and petroleum products, with coffee being the top cash crop.

Colombia, today: Coffee remains the nation’s leading legal export. Millions of people work in the fields, harvesting coffee beans for as little as $1.50 per day.

One of the most significant influences on Garcia Marquez is Alejo Carpentier's The Kingdom of the World (1949). This magic realist novel explores Haiti's tumultuous history through the perspective of a slave. Additionally, the impact of Jonathan Swift's Gulliver's Travels (1726) is evident in the scene where Esteban arrives on the beach, characterized by his immense size.

Garcia Marquez was also inspired by the works of Argentine author Jorge Luis Borges. Borges' experimental short story collections, A Universal History of Infamy and Ficciones, notably influenced him. In these collections, Borges moved away from conventional realist narration, embracing more fantastical elements.

Elements of magic realism frequently appear in Garcia Marquez's early short stories and many of his novels. For instance, "A Very Old Man with Enormous Wings" (1968) is another short story featuring a stranger arriving in a coastal village. However, in this tale, the stranger is not a handsome drowned man but, as the title indicates, an elderly man with enormous wings. The narrative explores the villagers' responses to this unexpected and mysterious disruption in their everyday lives.

One Hundred Years of Solitude, originally published in 1967 and translated into English by Gregory Rabassa in 1970, is Garcia Marquez's seminal magic realism novel. It tells the story of the enchanting village of Macondo and its equally extraordinary founding family.

Sources
Frosch, Marta Morello, "The Common Wonders of Garcia Marquez's Recent Fiction," Books Abroad, Vol. 47, No. 3, 1973, pp. 496-501.

Kazin, Alfred, Review in The New York Times Book Review, February 20, 1972, pp. 1, 14, 16.

Kazin, Alfred, Review of Leaf Storm and Other Stories, in Critical Essays on Gabriel Garcia Marquez, edited by George R. McMurray, G. K. Hall & Co., 1987, pp. 26-29.

McNerney, Kathleen, Understanding Garcia Marquez, University of South Carolina Press, 1989, pp. 121-122.

Pritchett, V. S., "A Ruined Arcady: 'Leaf Storm and Other Stories,'" New Statesman, February 9, 1973, p. 200.

Sturrock, John, "Shorter Marquez," The New York Times Book Review, July 16, 1978, p. 3.

Williams, Raymond L., Gabriel Garcia Marquez, Twayne Publishers, 1984, pp. 96-98.

Further Reading
Byk, John, "From Fact to Fiction: Gabriel Garcia Marquez and the Short Story," in Mid-American Review, Vol. VI, No. 2, 1986, pp. 111-116.
Explores the evolution of Garcia Marquez's short stories from his early, conventional style to his later, fully developed magical realism.

The Cambridge History of Latin America, Volume III, edited by Leslie Bethel, Cambridge University Press, 1991.
Examines Latin America's history since 1930 from political and economic perspectives.

Epstein, Joseph, "How Good is Gabriel Garcia Marquez?," in Commentary, May 1983, pp. 59-65.
Epstein describes "The Handsomest Drowned Man in the World" as "charming" and praises the author's significant ability to present things in unique ways.

Levitt, Morton P., "From Realism to Magic Realism: The Meticulous Modernist Fictions of Garcia Marquez," in Gabriel Garcia Marquez, edited by Harold Bloom, Chelsea House, 1989, pp. 227-242.
Levitt examines magical realism as a literary technique, provides examples from Garcia Marquez's work, and discusses Garcia Marquez's connection to it through the author's own quotes.

McMurray, George R., Introduction to Critical Essays on Gabriel Garcia Marquez, edited by George R. McMurray, G. K. Hall, 1987, pp. 1-23.
McMurray outlines the history of Garcia Marquez's publications and offers an overview of critical responses to his work.

Review in The Times Literary Supplement, September 29, 1927, p. 1140.
The reviewer characterizes Garcia Marquez as a "storyteller" rather than a "short-story writer," discussing the unique nature of his fantastical approach to mundane reality.