Fiction as History Essay

He was know as Gabo to the batch living in Colombia and to those who knew him by his reputation. He was not only a short-story writer, a novelist and a screenwriter by employment for he was excessively a journalistthese were only among the umpteen things which gave him the honor as among the famous writers of Latin America and adept of the most substantial 20th atomic number 6 authors. At the age of 65, Gabriel Garcia Marquez was given the Nobel observe in Literature in 1982 the crop of the gang of an early emotional state mostly influenced by his grandfather and a life lived through and through the ways and means of news media after quitting law school (Williams, p. 135).Gabo is considered to be a pi wholenessering author in the Latin Ameri preempt Boom during the 1960s, stemming from the fame he achieved through his masterpiece One coke old age of purdah and his indispens suitable presence and utilization in Latin American literary productions (Maurya, p. 54). One Hundred Years of Solitude has been significantly understood by critics and literary scholars as a history of Gabos rendition of the circumstances during the strike that happened corroborate in 1928 in Colombia (Posada-Carbo, p. 401).That magnus opus of Gabo is utter to scrutinize the Colombian regimes repressive nature as rise up as the strike itself which claimed the lives of many workers. end-to-end the course of his locomote, the literary style known as sorcerous realism has been by and large attributed to Gabo as he was the one who popularized the literary technique of using put-onal events and elements so as to give real experiences the appointment explanations (Hinds and Raymond, p. 897). Gabo is also said to have been an influential writer not only for his associate Latin Americans but also for immaterial authors and budding writers from other nations.For Gabo, globe is a very significant theme and instalment in his authorships, especially evident in his kit and caboodle In Evil Hour, gravid Mamas Funeral and Nobody Writes to the Colonel (Aizenberg, p. 1239). These ternary works of Gabo fall the kind of Columbian society where he lived inasmuch as they also reflect the naive realism of life in the nation. The theme of reality is the foundation for the able structure of the books of Gabo, although European readers may range to be less aware of the reality that Gabo wants to send crossways and tend to be more inclined to interpret his works as testimonies to his magical realist craft.The first a few(prenominal) years in the career of Gabo Marquez dictum a struggling journalist in him. He was literally a travelling journalist simply because he was always on the move, transferring from town to town across Latin America and Europe. At one point, he worked for El Espectador back in 1955 as a correspondent report from Rome and Paris. Although the newspaper was shut drop by the dictator Rojas Pinilla which took away his scene as a j ournalist, Gabo nevertheless was able to pick up on where he was left and continued his musical composition career in Mexico City.In the City, he did not only work as a journalist he also worked as a screen writer and as a publicist before pathetic back to Barcelona during the 1970s. Although Gabo was a salutary-travelled writer, it can be said that he never fails to at least think about his hometown and reflect it on what he has written. Evidence to this is his perpetual use of the town Macondo in his many stories which reminds the readers of the town of Aracataca where Gabo was born and lived his childhood long time (Molen, p. 4). This was true right from the time when Gabo began writing to the time when he was able to intimately attain success in the literary limelight.Nonetheless, the time when Gabo began writing was a significant event for the literary scene in Hispanic American societies because the literature in those regions was characterized either by realist-modernis t or super-regionalism during the inwardness part of the twentieth century. Those were the times when Latin American writers were busy either writing as a modernist or as a realistboth having the tendencies to categorize themselves as regional writers or writers who either demo or mask reality in their respective places.Maurya Vibha further suggests that there is an unvarnished absent history in the ternion World conditions of Latin America and a link between postcolonial fiction and a desire to think historically in the works of Gabo (p. 54). If Vibha is indeed right, then there is strong reason to believe that what Gabo did in his works is to provide that link and, in the end, to capture the significance of those third being conditions into a piece of literature which depicts the strict reality in Latin American societies.Apparently, the works of Gabo, if not the course of his life, nowadays the struggles faced by Latin Americans in their own territory as well as in others . In effect, it can be said that Gabos magical realism is indeed a combination of the depiction of the social realities that the author maxim in his lifetime and of the literary magic that he used in portrait those realities.Although European readers may get the fantasy that the literature of Gabo is magic in itself, it should not be the case that the substance of his works be confined to that magic unsocial for it transcends the barriers of that magic by portraying reality at its highs and lows. Works Cited Aizenberg, Edna. Historical subversive activity and Violence of Representation in Garcia Marquez and Ouologuem. PMLA 107. 5 (1992) 1239. Hinds, Elizabeth Jane, and Raymond Leslie Williams. Interview with Gabriel Garcia Marquez. PMLA 104. 5 (1989) 897. Maurya, Vibha. Gabriel Garcia Marquez. Social Scientist 11.1 (1983) 54. Molen, Patricia Hart. effectualness Vs Incontinence In The Autumn of the patriarch Of Gabriel Garcia Marquezpotency Vs Incontinence In The Autumn of t he paterfamilias Of Gabriel Garcia Marquez. Rocky Mountain Review of style and Literature 33. 1 (1979) 4. Posada-Carbo, Eduardo. Fiction as History The Bananeras and Gabriel Garcia Marquezs One Hundred Years of Solitude. Journal of Latin American Studies 30. 2 (1998) 401. Williams, Raymond Leslie. The Visual Arts, the Poetization of Space and writing An Interview with Gabriel Garcia Marquez. PMLA 104. 2 (1989) 135.