CU-MA-SEM-III-Specialization I – Post Colonial Novel- Second review

window while Lucy is dressing up. This incident takes place soon after Pollux shifts in with Petrus. David is so enraged that he wants to report Pollux to the police but both Lucy and Petrus are against the idea. So, David lets a dog maul Pollux once when he is peeping on Lucy, all the while screaming things he’s never said before in his life, like, “Teach him a lesson, Show him his place.” These phrases draw upon the fraught history of South Africa’s tense race relations, suggesting that part of David’s scorn for Pollux has to do with the fact that the young man is black. Before he truly injures Pollux, though, Lucy rushes out and helps the boy, who runs away saying, “I will kill you!” and “We will kill you all!” Mr. Isaacs Mr. Isaacs is Melanie’s father. Soon after, David starts having sexual relationship with Melanie, Mr. Isaacs calls him to know if he can help Melanie get back to school as she has decided to drop out all of a sudden. As per what Mr. Isaacs knows Melanie thinks highly of David and might listen to his advice. Just after two days Mr. Isaacs finds out about David’s affair with Melanie and confronts him at his office. In his rage, he insults David publicly. Post this incident, Melanie files a sexual harassment case against David. After losing his job as a result of the investigation, David visits Mr. Isaacs at his office once .Mr. Isaacs being a cultured man invites David to dinner at his place against the wishes of his wife and younger daughter. Soraya Soraya is the prostitute whom David is seeing at the start of the narrative. He has weekly appointments with her and is satisfied by the relationship. However, this state of bliss for him is temporary as one day he spots Soraya with his sons and immediately after that he asks him not to see her anymore. She tells him that she is going back home to care for her mother. But still David tracks her and contacts her at her house. This irritates Soraya and she tells him to stop ‘harassing’ her and never wants to hear from him in future. 8.5 CRITICAL APPRECIATION OF THE NOVEL Disgrace is Coetzee’s eighth novel, following a gap of five years since his seventh. During that time, he concentrated on nonfiction, including two long lectures in The Lives of Animals (1999), although much of that work is presented in a fictional framework. The Lives of Animals examines the relationship between humans and animals and explores the shaping of human values. The novel Disgrace while continuing the themes on human values and animals, also examines the transition in race dynamics in post-colonial South Africa. Disgrace opens with David Lurie thinking to himself that he has “solved the problem of sex rather well” as he visits Soraya weekly for a paid ninety-minute session. David was divorced twice before and has a daughter form his first marriage. Having spent many years with casual affairs, at the age of 52, David feels he has lost his appeal with women. Hence, to remedy the 201 CU IDOL SELF LEARNING MATERIAL (SLM)

situation, he sets up sessions with Soraya. Since the arrangement has worked well for over a year now, he feels this solution suits his temperament. He says to himself that the skull and the temperament are the two hardest parts of the body. One fine day, David sights Soraya shopping with two boys who are her sons. She also sights David. Soon afterwards, she tells him that she will not be available henceforth. Clearly there will be changes for Professor Lurie after all. His teaching situation has already changed. What was formerly Cape Town University College is now Cape Technical. David Lurie in terms of his educational background is a scholar of British romantic literature, afterhaving published three books of literary criticism, still he had to compromise in terms of his level of work since the modern languages and classics department was closed as part of “the great rationalization,” and his job changed to teaching low-level “communications skills” classes. Since the beginning, he had no interest in teaching whatsoever, this also translated to him having no respect for the teaching material and also in the students becoming indifferent. Like many other, he was allowed to offer just one course per year in his area of expertise. One day in the evening, while returning from the library, David notices one of his students called Melanie Isaacs. She was taking the Romantics course taught by him. She is not a particularly good student and is basically unengaged with the course. David strikes up a conversation with her and without an understandable reason, invites her for supper to his place. They have a couple of meetings and have sex, during which Melanie acts passive. A boyfriend comes to class with her one day, and Professor Lurie’s car is vandalized. Post the incident, Melanie skips her classes but still David gives her credits for the test which she did not even take. Melanie’s father comes to know of David’s misconduct and contacts him to fix a meeting. He confronts him and tells him that he has mistreated Melanie. An investigation is put in place to further look into the sexual harassment and falsification of records charges against David. The committee gives him an option where he is punishment will be lessened if he asks for forgiveness. But David while accepts the charges, does not regret the experience. As a result, he is fired from his job. David leaves Cape Town to visit his daughter Lucy who stays in Salem (Eastern Cape).She used to live with another woman who left and now she alone occupies the house. She grows vegetable and flowers and tends to dogs. Lucy makes money but selling the produce in a nearby Saturday market. She is assisted buy an Afrikaner called Petrus who lives with his wife and children. He has another wife and more children in the city. While Lucy has sold a part of her land to Petrus, she becomes aware that he is more ambitious and would eventually want her entire land. Petrus is also building his new house to be in a good position to become a rightful inheritor of the country along with his people. Not long into David’s stay, three Afrikaners – two men and a boy attack him and Lucy. They vandalise the farm, rob the house and steal David’s car, kill the dogs, throw acid on David and lock him up and rape Lucy repeatedly. Lucy does not report the rape to the police and does not even talk about it with his father. The attackers remain scot free and none of the stolen things are recovered. The boy from the group of attackers is spotted in Petrus’s house as he is Petrus’s wife’s relative. Lucy 202 CU IDOL SELF LEARNING MATERIAL (SLM)

understands that she cannot take any legal or other recourse against the boy since he was under Petrus’s protection. From then on, things remain bleak. Lucy becomes a recluse and David roams around with a bandage that covers his skull and a half present ear (burned by the acid).He busies him with the animal clinic run by Bev Shaw and her husband. In the coming days, David realises that people see the clinic as a means to get rid of their unwanted dogs and sick animals. Bev ends their suffering and provides dignity to their death by giving them a lethal injection. She is somewhat like a ‘mercy killer’. David sees Bev’s role as both humane and evil. He takes up the responsibility of disposing off the dead bodies of these animals. So that they are not carelessly tossed in the incinerator by the garbage workers. One day Bev offers herself to David as a lover. He accepts the invitation and that have sexed a couple of times. He realises that even though Bev is unattractive, she is the best he can expect in the times to come. Lucy asks David to leave. He travels back to Cape Town making a stop along the way to meet Melanie’s father, who essentially tells him “no forgiveness.” Lurie’s house has been vandalized, and no one wants to see him. David sights Melanie performing in a play, during which David meets her boyfriend who insults him and forces David to leave. Alone in his empty house, he begins working on a project about which he had been thinking for some time, a libretto for an opera about George Gordon, Lord Byron’s last months in Italy and his last mistress. While it fills his mind, like most of the things, it does not go as planned. In the midst of all this, he hears from his daughter again. She is pregnant from the rapists. She intends to have the baby. Petrus suggests marriage to Lucy and wants to make her his third wife. Lucy refuses this marriage and asks her father to negotiate with Petrus in a manner that she can stay in the farmhouse in return for giving away her land to Petrus. David wants to help in the animal shelter and sort out Lucy’s situation for which he comes back to Salem and rents a place there. His attempts at writing an opera bear no fruit. He only gets comfort in the company of a crippled dog. He very well realises that eventually he will have to give away the dog and this comes true by the end of the novel when he takes the dog to Bev for the lethal injection. “Yes, I am giving him up,” he says. The “disgrace” of the title has many ramifications in this bleak and haunting novel. Essentially the novel suggests, as noted by Salonreviewer Andrew O’Hair, “that political change can do almost nothing to eliminate misery.” As in the earlier Life and Times of Michael K, O’Hehir writes, the protagonist “is broken down almost to nothing” and the only “tiny measure of redemption” is his “forced acceptance” of what is. “One get used to things getting harder; one ceases to be surprised that what used to be as hard as hard can be grows harder yet,” David Lurie reflects. Coetzee suggests that in any part of the world and not only in the new South Africa, brutal anarchy and brutal tyranny are equally bad. Both people and animals are victimised. The treatment of animals by people shows how people treat each other. In Disgrace, the ideals of the Romantic poets are long gone, including romantic love. The text points to the premise that Romantic poets in their actual lives also did not find solace from their ideals or from romantic love. They found true salvation only from their writing. 203 CU IDOL SELF LEARNING MATERIAL (SLM)

Coetzee resonates this for himself, for David, his writing is also one of the things he has to give up by the end of the novel. Since the beginning Professor David Lurie thinks of the Communications 101 handbook as preposterous as it states that language was created by humans to communicate amongst them. He believes instead that the origins of speech lie in song, and song comes from “the need to fill out with sound the overlarge and rather empty human soul.” As a reviewer in The New Yorker put it, “Coetzee condenses metafictional and moral concerns in his prose, including the cathartic potential of art as set against brute actuality; Disgrace is a spiritual document, a lament for the soul of a disgraced century. “Undoubtedly, in this lean novel, Coetzee shows his brilliant style. The point to ponder is whether the narrative is too bleak for redemption or can readers return to it time and again to achieve enlightenment for their lives? Is it a work that has a strong pull of cynicism and despair, similar to the possibility that Bev liked her role as the dog ‘mercy killer’? David’s leaving the dog earlier than needed, though can be seen as a virtue on his part, it can also be seen as an action done without giving any thought to the dog’s plight. Literary Techniques The author allows the characters to speak in first person without much interruption from an authorial angle. The protagonist is David Lurie’s whose thoughts give shape to the narrative. This forms a wedge between him and the other characters as he looks at the perspectives of other people only after he understands his own feelings. As the narrative progresses, David finds himself a part of his opera. As the novel reaches its end, this opera takes centre stage .The author uses this opera to exhibit the change that David has gone through. David’s won poetic voice gets silenced by the story of the aging mistress and the lost poet mirrors which wreak havoc on David’s life. Social Concerns Disgrace centres on David Lurie, a man well established in lifeand profession. He soon discovers that all privileges in life can be taken away in a heartbeat. David is an academician and works at the university in Cape Town (South Africa).He goes through major changes in his life .Even his university and department go through change. His university originally called Cape Town University College is now called Cape Town Technical University and his department Classics and Modern languages is dissolved. Thus,leaving him with only a couple of classes to teach in Communications. The ups and downs in David’s life parallel the changes that have altered the atmosphere in South Africa both socially and politically. With the realisation that apartheid is untraditional; the society paves the way to change the social fabric. This change in attitude is visible in the relationship between Lucy (white female) and Petrus (black male) as their equation evolves in a manner that Petrus is no more Lucy’s employ and becomes a landowner himself. The established beliefs are represented by the way David vies the transition in Lucy and Petrus’s relationship, his lack of trust in Petrus and disapproval on Petrus becoming a landowner. David has to adapt too many new facets like 204 CU IDOL SELF LEARNING MATERIAL (SLM)

the changing dynamics in the countryside, changes in Lucy’s appearance and her equation with Petrus. Through this seemingly simple story about a man and his actions, Coetzee gives colour to many complex relationships that exist in contemporary South Africa. Investigations of male- female, parent-child, city-country, black-white, employer-employee are all included, and each is examined from an angle slightly skewed from what might be considered common viewpoints. The author creates a deconstruction of these binary relationships by skewing the general perceptions around them. David’s actions can be viewed as both traditional and revolutionary depending on the perspective and the situation in question. This gives many opportunities to the reader to consider varying viewpoints regarding the relationships. In the current times South Africa is faced with instability and many of the socially relevant aspects of the story are fallout of this situation. David’s misconducts and the consequences illustrate the varied ways in which people try to create stability in a dynamic world. In which nothing is safe physically, mentally or emotionally. Even though the story is based in Cape Town and the surrounding countryside, the insights can be extrapolated beyond this geographical area and does not just apply to that society in specific. The ways David adopts to deal with changes like aging by maintaining his sexuality through conquests speaks about the aspects that all individuals strive to address. His ways cause deterioration in multiple ways – Soraya refuses to continue the relationship with him and Melanie files a sexual harassment charges against him. All this happens because; David tries to control the situation by not paying heed to the context. David tries to control the course of their lives without giving them the space to react in the way that is natural to them and in turn this destroys his own comfort zone in life He pulls himself into an uncomfortable zone by continuing his stay in Salem and by visiting the Isaac family again. As the novel begins, David has a superficial view towards life but post the attack on him and his daughter, he starts viewing life at deeper levels at through multiple perspectives. Reception and Interpretation According to Adam Mars-Jones, writing in The Guardian, \"Any novel set-in post-apartheid South Africa is fated to be read as a political portrait, but the fascination of Disgrace is the way it both encourages and contests such a reading by holding extreme alternatives in tension. Salvation, ruin.\" The new order in South Africa also perpetrates violence though in new ways. Both David and his daughter fall victim to violence yet David the central character is no saint and he himself has used violence against women. He had manipulated one of his students and had violated her sexually. This meeting put of violence by both white and black men acts as an equaliser in the sense that violence does not seem like the prerogative of any one race alone in South Africa. Rather that showing people as just negative and positive, Coetzee portrays a range of human emotions and capabilities. The novel ‘Disgrace’ takes inspiration from the contemporary state of social and political conflict in South Africa. It 205 CU IDOL SELF LEARNING MATERIAL (SLM)

portrays a bleak picture of a country witnessing transition. This is represented as a theme through various depictions like change in power dynamics of the groups, David’s loss of authority and sexuality. Sarah Ruden suggests that: “As in all of his mature novels, Coetzee here deals with the theme of exploitation. His favourite approach has been to explore the innocuous-seeming use of another person to fill one's gentler emotional needs.” The novel’s story is significant both at a regional and also at a universal level. The main character – David Lurie is a snobbish intellectual but still he commits violence. Being a white African male, he is local to South Africa. At a higher level, he does not hold the power that the African while males used to hold previously. The transitions, force him to change his ways at an age when changing does not come very easily. This theme, about the challenges of aging both on an individual and societal level, leads to a line, \"No country, this, for old men,\" an ironic reference to the opening line of the W. B. Yeats poem, \"Sailing to Byzantium\". Furthermore, Lurie calls his preference for younger women a \"right of desire\", a quote taken up by South African writer André Brink for his novel \"The Rights of Desire\". As the novel ends, David changes the way he views women. He sees them more than being to exploit and recognises Lucy’s right to choose the course of her future. He finally puts \"their strained relationship on a more equal footing\" — the first time in his relationships with women. His sexual relationship with Bev Shaw leads him to a path of personal salvation, \"by annihilating his sexual vanity and his sense of superiority.\" In the second book written by Coetzee- After Life and Times of Michael K man is broken down almost to nothing before, he finds some tiny measure of redemption in his forced acceptance of the realities of life and death. Coetzee as an author always makes his main characters to go through extreme experiences so that they can realise the essence of being human. Though the novel is not very verbose in style, it still encompasses many topics like subjugation of women, personal shame, transition in the country and romantic poetry along with its symbolism and allegory. The other theme of importance in the novel is that the difficulty in communication and limitations of language. Even though David, himself a scholar of poetry teaches communication at the Cape Town Technical University, he still makes mistakes when it comes to communication. Coetzee writes: Although he devotes hours of each day to his new discipline, he finds its first premise, as enunciated in the Communications 101 handbook, preposterous: 'Human society has created language in order that we may communicate our thoughts, feelings, and intentions to each other.' His own opinion, which he does not air, is that the origins of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul. 206 CU IDOL SELF LEARNING MATERIAL (SLM)

8.6 SUMMARY  Disgrace is a popular work of South African author, J.M.Coetzee. This novel was published in 1999 and it almost immediately received both popular and critical acclaim. The main protagonist of the novel is David Lurie who is a professor in Cape Town and finds himself in the midst of a scandal post an affair with one of his students. Like the narrative in many of his earlier novels, Coetzee portrays the troubled relationships that his characters have with their native country – South Africa. Disgrace offers a particular point of view that is historically and literarily distinct.  Disgrace may be classified as postmodern, postcolonial, post-apartheid literature by a white author.  A significant part of the intertextuality in Disgrace is the text's dialogue with the works, ideas, and lives of two English Romantic poets, William Wordsworth and Lord Byron.  One of the major transformations in David Lurie is the change in his attitude towards animals.  From the start of the novel, David and Lucy share a one of its kind father- daughter relationships.  The setting for the novel is post-apartheid South Africa which is still haunted by its legacy even though apartheid has long been legally abolished.  As an ideal, justice is the standard by which one measures guilt and innocence. However, in this novel, J.M. Coetzee explores the moral foundation on which justice depends.  Disgrace shows that after centuries of racism and violence, achieving healing, unity, and progress is not easy or simple.  The text suggests that history has not yet learned a lesson but may be in the process of doing so.  The author gives space to the characters so that they can express themselves without authorial interruption.  Through this simple narrative through the course of the main protagonist's life, Coetzee explores various dimensions of the binary relationships between different elements that exist in South African society.  Even though, the story is based in Eastern Cape, the surrounding countryside and that society, the insights are not restricted to a geographical area and can be applied at a universal level.  The characterization of violence by both the 'white' and the 'black' man parallels feelings in post-apartheid South Africa where evil does not belong to the 'other' alone. 207 CU IDOL SELF LEARNING MATERIAL (SLM)

8.7 KEYWORDS  J.M. Coetzee: A South African-born novelist, essayist, linguist, translator and recipient of the 2003 Nobel Prize in Literature.  Disgrace: A novel by J. M. Coetzee.  Novel: A fictitious prose narrative of book length, typically representing character and action with some degree of realism.  Postcolonial: Occurring or existing after the end of colonial rule.  South Africa: Officially the Republic of South Africa (RSA) is the southernmost country in Africa. 8.8 LEARNING ACTIVITY 1. The novel begins by telling us that \"For a man his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well.\" What can you infer about David Lurie's character from this sentence? In what ways is it significant, particularly in relation to the events that follow, that he views sex as a \"problem\" and that his \"solution\" depends upon a prostitute? ………………………………………………………………………………………………… ………………………………………………………………………………………………… 2. When Lurie shows up unexpectedly at Melanie's flat, \"she is too surprised to resist the intruder who thrusts himself upon her.\" Later, he tells himself that it was \"not rape, not quite that, but undesired nevertheless, undesired to the core.\" How do you view what happens in this scene? Is it rape? ………………………………………………………………………………………………… ………………………………………………………………………………………………… 8.9 UNIT END QUESTIONS A. Descriptive Questions Short Questions 1. What do David's literary references in Chapter 1 suggest about him? 2. What is it about Soraya's character does David find appealing? 3. Of what significance is it that Soraya wiped off her makeup so readily when David asked her to? 4. Why does Lurie give up his job by refusing to defend himself before the inquiry? 5. Why does Lurie give up the dog at the end of the novel? Long Questions 208 CU IDOL SELF LEARNING MATERIAL (SLM)

1. What is the political background in which Disgrace is set? 209 2. Attempt a character sketch of the novel’s protagonist. 3. Highlight the theme of race in the novel. 4. How would you justify the title of the novel? 5. Give a critical appreciation of the novel. B. Multiple Choice Questions 1. In which major city does David Lurie live? a. Pretoria b. Johannesburg c. Nairobi d. Cape Town 2. How long are Lurie's sessions with Soraya? a. 60 minutes b. 90 minutes c. 120 minutes d. Overnight 3. Which of the following is not a topic of a book Lurie has written? a. Wordsworth b. Byron c. Mephistophele d. Richard of St. Victor 4. Who is in the photo Melanie Isaacs asked about when she is in Lurie's house? a. His Mother b. His First ex-wife c. His Second ex-wife d. His Daughter 5. What is the name of Melanie's cousin? a. Soraya b. Paulette c. Pauline d. Lucy Answers 1-(d), 2-(b), 3-(b), 4-(a), 5-(c) CU IDOL SELF LEARNING MATERIAL (SLM)

8.10 REFERENCES Textbooks  Gunew, S. (1997). Postcolonialism and Multiculturalism: Between Race and Ethnicity, TheYearbook of English Studies, The Politics of Postcolonial Criticism, Vol. 27.  Guruprasad, S.Y.(2014).The Creole Identity in the Caribbean Postcolonial Society: A study of Selvon's A Brighter sun, International Journal of Interdisciplinary and Multidisciplinary Studies( IJIMS), Vol.1, No.5.  Hughes, Micah A. (2011) . ―Representations of Identity In Three Modern Arabic Novels,‖ Colonial Academic Alliance Undergraduate Research Journal. 2.5.  Hull, Stuart. (1989). \" Ethnicity: Identity and Difference\". Radical America 23, No,4. References  Nick Bentley (2003) ―Black London: The Politics of Representation in Sam Selvon's The Lonely Londoners.‖ Wasafiri. 18.39 (2003). 41-4. Print.  Pieterse, Jan Nederveen, Europe and its Others A Companion to Racial and Ethnic Studies, Blackwell.UK.2002.  Eagleton , Terry. ( 1996). Literary Theory: An Introduction. 2 Nd ed. Oxford: Blackwell.  Fanon, Frantz. (1963). The Wretched of The Earth. Trans Constance Farrington. New York: Grove Press. Websites  https://www.jstor.org/  https://www.lexico.com/  https://www.cambridge.org/ 210 CU IDOL SELF LEARNING MATERIAL (SLM)

UNIT-9 GABRIEL GARCIA MARQUEZ: THE WRITER Structure 9.0 Learning Objectives 9.1 Introduction to Postcolonialism 9.2 Major Works by Marquez 9.3 Achievements 9.4 What Makes Marquez a Postcolonial Writer? 9.5 Summary 9.6 Keywords 9.7 Learning Activity 9.8 Unit End Questions 9.9 References 9.0 LEARNING OBJECTIVES After studying this unit, student will be able to:  Explain the author and his background.  Describe author’s style of writing.  Evaluate the author as a postcolonial writer. 9.1 INTRODUCTION Gabriel Marquez whose nickname was Gabo came into the world on 6 March 1928.He was born in the town of Macon do which was a quiet place in Columbia. There was a small village named Aracataca which was situated close to the coast of the Carribean. The place remained in solitude for more than hundred years. Till the age of eight years, he did not know about his parents. He was brought up by his grandparents who according to him were the most important influencers on his life. When his granddad died, there was nothing more which was left in his life. One of the reporters asked him how he became rich with his style. His reply was that it was typically the styling of his grandma. The granddad of the writer was his role model for colonels in his book as well as stories. He had taken part in the civil war called “The War of a Thousand Days. “It was among the most 211 CU IDOL SELF LEARNING MATERIAL (SLM)

dreadful events which happened in Columbian history. It was after the formation of the treaty that the revolution happened, which caused the loss of the territories of Panama Canal area. It was replaced by a US based republic. Much before that, the small village called Aracataca had greenery all around as it was secluded from the whole world. Similar to the fiction of Macando, the small village was formed by war refugees of Columbia. The company United Fruit Co. came into existence with its headquarter there. It came to be known for many of the labour disputes and massacre happened. In the due course of time the company was leaving the country. The events had created the background for the actions happening in the author’s novel. In the year of 1940, Garcia left his village to go to a place called Bogota where he went to a school of Jesuit. Soon after completing his graduation, he went for studying law at the Bogota University. There he found that laws had no relation with justice delivered. When there was violence next to the university campus, he got himself relocated to the Cartagena city. There he becomes a studious and hardworking individual. His first work began as journalist where he was posted in the Barranquilla town. From the years 1950-1952,he started writing in the columns known as” La Jirafa”(The Giraffe) for the paper El Heraldo in the town. His articles during that period were full of mockery and sarcasm which became a feature in his writing. The first few publications came in the year of 1947 when he was student in a place called Bagota.He had given up law schooling to move to a place called Barranquilla. There he came into contact with a small group of novelists as well as news agencies who came to know about his work. He turned towards journalism when he started writing for newspaper columns. In the year of 1954, he came back to Bogota as a film critic of a newspaper in Columbia which was called Expectador. He once had said being a reporter was among the lowest paid on the papers. Whereas the others wanted to be on the editor’s pages, he was covering the crimes as well as fires. He was a critic of William Kennedy. He was also called Ben Hecht similar to Hemingway inside him. (Look into the Yellow Trolley Car in Barcelona and other visions Atlantic of January 1973).He added the touches of Barnum as well as Bailey’s acting skills in him. One day a reporter called El Espectador had wrongly written about the war in Quibdo which was a small village. Marquez and one of his photographers had to be stationed there. They had gone there after going through long journey in order to find a discovery of a small village where the journalist was finding ways to get out of the hot weather. The story was dramatized for the editor’s work. They gathered crowd using siren and drumbeats where they took photos of the staged war. As soon as he gave his story for publication many reporters came to the cover the same. The most turning point in his career as a journalist came in the year of 1966 where a sailor called Luis Alejandro Velasco had come to El Espectador to talk about his journeys at the sea. The editor of the newspaper had asked to talk to Marquez. He was among the survivors 212 CU IDOL SELF LEARNING MATERIAL (SLM)

of the Columbian naval ship which was stuck on the way from the country of New Orleans. The ordeal had managed to get lot of publicity with those papers who were friends with king Gustavo Rojas Pinilla.He had given permission to Alejandro.The interview Marquez had done with him turned out to be a stint where the 14 pages mentioned about the firstand accounts of the 20-year-old sailor. He had said in the narrations that the ship was not hit by a storm. Instead, they were carrying black products on its deck. At that time, powerful winds loosened the stock and eight of them had survived which included Alejandro.The facts which revealed the truth made the story an instant hit but had caused grave embracement to the government. Sometime later, the story came to be published in Marquez name in the year of 1970.It was the first time he was given credit for the article. The book was titled The Tale of a Shipwrecked Sailor. It was the story of a sailor who was floating on the draft for about ten days without any food or water. He became the hero of the country where he got lots of publicity and name. The government was not interested in the story. In the year of 1954, Marquez was sent to the Vatican as a reporter. He had just written on Leaf Storm (La Hojarasca).This was the first of his writings as he wanted to become a director on his novel. After some time, he decided to relocate to Paris where he got to know that under the dictator Rojas Pinella, the newspaper was closed. He became unemployed. He continued to stay in Paris and started writing a story about the violence. His tone became more vibrant and vibrant as his work started becoming popular. One of his longer novels became two shorter stories. The one which he had written last was named No One Writes to the Colonel (El Coronel No Tiene Quien Le Escriba).He had rewritten the same book for about 11 times before it became before it became the first book on violence named La Mala Hora (The Evil Hour).In Paris, Marquez lived on wonders happening every day. He was of foreign origin. He did not know French and there he had gone out of money. He lived on credit in a hotel named Latin Quarter where he had owed them 123,000 francs. He had said that he used to reboil the bones of chicken for making soup which he had regularly. The hotel which was seeing his desperate attempts did not ask for the money from him. The management of the hotel has full trust on him as they saw him working all the time. He was just barely able to meet the needs. This desperation made him get into the room of the maids. He was caught by the landlord who at that time let him stay in the balcony. The money was over, but he had let him stay there as he was writing. When he looked back on those three years, he would not have become an author. He said that no one will die of hunger as was sleeping under the bridge. In the year of 1957, he was selling articles in newspapers in Bogota as well as Caracas by giving bunch of ten articles on the East European nations. Then he returned to Columbia to marrying his fiancée named Mercedes, which means the beautiful neck and the sleepy eyes. In this novel he has got engaged to Gabriel. Marquez then relocated to Venezuela where he met PlinioApuleyo Mendoza on one of his social tours. He was the editor Memento which was a Caracas magazine. He was hired by the magazine. It was there when he had learnt about the last few days of king Perez 213 CU IDOL SELF LEARNING MATERIAL (SLM)

Jimiz.wherehe had written Big Mama's Funeral (Los Funerales de la Mama Grande).It was a collection of shorter stories which came for publishing in the year 1962 in Mexico city. One of those stories was set in the city of Mocando where there was a small town named El Peubelo.He went to Memento for work in Venezuela Grafica magazine. It was also called Venezuela Pornographise which was situated in the city of Caracas as it was similar to Penthouse as well as Playboy. Marquez was not disheartened by non-literature kind of work. He has said that that I was not interested in his personal lifes.He was reading all the gossip which was coming in the magazines and he believed everything which was written. Just after the revolution in Cuba, he opened his office in Bogota for Cuban news agency named Prensa Latina. He was a socialist person since his university days. In the year 1960, he represented the news agency at the UN General Assembly. At the same time a former diplomat named Nikita Khurushev had a grave for the shoe there.He then visited Havana in the year 1961 as well as to New York in order to become the assistant bureau chief of the news agency. He had to resign because of internal conflicts which were concerned about party’s ideology. He had left his boss just after few months in the city of Mexico. His visa was withdrawn by the immigration authorities in the United States as he was leaving with his family to go to Mexico. The experience was bitter one to remain for some time. New York had withdrawn his visas. The city was among the greatest in the 20th century. Hence there are restrictions not to be able to come each year even for a smaller period. There was a great doubt in living in the New York City. It was really strong.US is an exceptional country. It has created a city such as New York which has no relations with the systems or their governments as to what they are doing. Just as got back his visa, he left for Mexico travelling by bus which goes through the south. He says with respect to Faulkner in all his books. He notes signs on the way that say dog as well as Mexicans are not allowed. He soon found that he became barred from all the hotels because of his skin tone; many mistook him to be from Mexico. He was being given filet with peaches and syrups on it in the country of New Orleans. He had fled to the city of Mexico without any delays. When he came to Mexico, he had no money. He began at a slow pace with difficulties a new career as a writer. He was writing scripts in films with collaborating with novelist from Mexico named Carlos Fuentes, many of which became films. One of his story titled “There are no thieves in town” was filmed by a group of people for showing in the Locanto Festival in the year 1965.Apart from it, he was working as an editor as publicist for Walter Thompson’s office in the city. During that time for a period of around six years, he was writing a short story. It seemed to be a bad time for him as he was collaborating with actors and directors. The ideas generated were restricted but the writer in him was still present. During that time, his friends had looked after publication of two of his books. In the year 1961, book named Evil Hour was finished in Mexico City. It came for publication in Spain. The book got him the Columbian literary price. The first title of the novel was Este Pueblo de 214 CU IDOL SELF LEARNING MATERIAL (SLM)

Mérida (The Town of Dung).After getting ideas from his friends the title was changed, but there were objections to the change by Marquez. By now Marquez had written four books in the field of literature: Leaf Storm in the year 1955, Evil Hour in 1961, Noone writes to a Colonel in 1961 and finally collection of short stories called Big Mama’s funeral in 1962.In the year of 1965, while he was driving through Mexico City towards Acapulco, he began thinking about his hundred yearly of solitude. In spite of his works being praiseworthy, he was working towards making a masterpiece. He had told a writer from Argentina that he could have recorded the whole chapter if he had a tape recorder with him. After that he went and told his wife not to worry about him or the money he earned. Then he began writing a bookon the mafia which he had seen since he was 16.His desk was named the cave of the mafia as he worked tirelessly for about 8 to 10 hours for the next one and half years. When he finished writing the book, his wife told him that they owed 12,000 dollars. In order to survive she borrowed it from friends, paid for the grocery and the instalment. They had not given rent to the landlord for over a period of six months. Marquez said he began writing from scratch. He started taking multiple copies and doing corrections on it line after line. He says his interests in writing are similar to a child while writing his comics. Marques sent his work on the three units of his book named the hundred years of solitude to Carlos Fuentes and Julio Cortázar.Both of them were ardent fans of his work. Cortazar was writer from Argentina. Fuentes was very impressed with the reading of the first 75 pages of his book is what he had written about in the magazine based in Mexico. The book was so commanding he had said. The book was first published in Buenos Aires in theyear 1967 under the editor Sudamericana. It was then translated to English by Gregory Rabassa.He was a winner of the National Book prize for his translation of Hopscotch. In the year of 1970, the book was published by Harper and Row. It got universally acclaimed as well as won him the Prix du Meilleur Livre Etranger award in the country of France in the year 1969.During the same year he won the Literary award in Italy, , the Premio Chianciano.The book was among the 12 most liked books by the critics of American books. He won the Romulo Gallegos Prize in the country of Venezuela in 1972.The book was given the Neustadt International Prize for Literature. In the year 1982, he won the Nobel Prize in the field of Literature. When he received the prize at Stockholm he said, “This was the prize for the friends at a great scale and the gratitude. It was despite the tortures, pirating as well as abandoning they had faced in their lives. The natural calamities such as floods, plagues, famines or the wars were not able to bring down the spirits of life over death. It was like a day as today that my mentor William Faulkner had said’ I will not be accepting the end of mankind. ‘He then further went on say that he was feeling not worthy of standing at the place. He was also not aware of the grave tragedies earlier in his life which happened about 32 years ago. He believed that humanity still existed in this scientific era. We are always faced with realities which confront us all the 215 CU IDOL SELF LEARNING MATERIAL (SLM)

time. There is a belief that all the stories that are told are to be believed. It is never late to trust that the creation is by someone else.” Marquez died at his home in the city of Mexico on 17 April 2014.He was eighty-seven years old, and he died because of pneumonia complication. 9.2 MAJOR WORKS BY MARQUEZ Leaf Storm (1955) Leaf Storm is the first novel by Garcia Marquez. It took him around 7 years to get it published. It was published in the year 1955.Marquez wrote that “all that he wrote was in 1973.The book was among his favourites as he felt sincere as well as spontaneous about it. All that happened in the book took place in a room. It happened in a period of half an hour on 12th September of 1928 which was a Wednesday. The story was about an old army man who was Marquez’s own grandpa. He tried giving a customary burial to a doctor who was from France. The army man was given support by his family. The book went on to explore the experience of a child as he encounters death. It was followed by a stream of emotions. The novel revealed the side of his daughter named Isabel. She gave it a feminine touch through her views. One Hundred Years of Solitude (1967) The novel called One Hundred Years of Solitude which was Gabriel Marquez. It was published in Spanish language as Iceman’s de Soledad in the year 1967.It was thought to the writer’s finest examples of his contemporary style of writing. This is the writer’s story about seven different generations of Buendia family. It extends for a period of 100 years in the history of Latin America. It started from post-colonial era of 1820 till the 1920.The Head of the family José ArcadioBuendía built the Macon do city in Utopia in between a swamp of river. The town grew and attracted lots of gypsies and other people. Among them was an old writer named Melquíades.A strong tropical storm which had come five years back had destroyed the whole city. The 5th generation of the family got its physical weakness along with its degradation. At the end, the hurricane wipes out the whole city. Then at the very end, it was Melquíades who was the narrating the mysteries relating to the book. The critics of the book have noticed the influences of author Jorge Luis Borges in the book named labyrinthine fantasy. It is widely known as Gabriel Marquez greatest of works. The 100 years of solitude is the tale that is set up in the small town of Mocando. It shows the ups and downs of the family of Bueindia.It is revealed through details given in the book about the character’s name and the roles they play in the whole family matters.It slowly unfolds into pattern of doubling and recurrence. The huge José ArcadioBuendía who goes into being a daring, charming leader of 216 CU IDOL SELF LEARNING MATERIAL (SLM)

Macon does to becoming a mad person. He was fighting with natural disasters. There are mysteries surrounding nothing. The beautiful story is based on the socio-political analogies which sometimes are more realistic, sometimes much more than anybody can imagine. The exemption of the so-called magic reality gives a feeling of strangeness, fantasy along with magic. There is an example of the massacres conducted by the army on several strike workers. Their bodies were loaded on the goods trains for dumping in the seas. It was the political version given where the tragedy became an unlawful act. The disappearance of the truth in history takes on the fictions. It demands answers for the same. The book can be taken as a substitute for the official history. The invention of telling stories brings forward the love, intimacies as well as various forms of privacy. When the witty and mysteries of the novels such as Arabian Nights as well as Don Quixote which were told by the host. He was capable of getting metaphors to Hardy and Kara in the due course of the novel. Marquez had some limited imitating which were pretty tiring but moving accounts of loneliness. The autumn of the Patriarch (1975) The book named The Autumn of the Patriarch (original Spanish title: El otoño del patriarca) was written by Gabriel Marquez in the year of 1975. The poems are written in loneliness as per the writer. The book is a track based on the life of a dictator. It has been divided into six parts, each part talking about the innumerable powers held by the typical Caribbean ruler. García Marquez was a ruler based on fiction. He was like many real rulers as Gustavo Pinilla of Columbia, Generalissimo Franco of Spain (the novel which was written in Barcelona), and Juan Gomez. The end result is the story of disasters created by a single powerful person. The novel was written in longer paras with longer sentence. The general thinking is related to the readers by winding sentence which he is conveying with his desperate needs and being alone. It was written on the lines of the atrocity and rude behaviour for getting him the powers. Garcia Marquez symbolizes this with the discovery of the dictator's corpse in the presidential palace. The book which had the most important aspect on giving focus on the God like identity held by the main characters who were mesmerized with the respect of his people regarding the rulers like as Franco, Somoza, and Trujillo who have managed to get away from the population of the countriesin spite of the political divisions. Love in the Time of Cholera (1985) 217 CU IDOL SELF LEARNING MATERIAL (SLM)

Love in the times of Cholera was set up in an unknown city along the River of Magdalena that was known as Cartagena in Colombia. The book revolves around the history of Columbia. It had long history of social differences as well as disparities in the wealth. The sides of the rule are shown in difference arising among the poor; people affected by cholera, lives of the slaves and the elite powerful who struggle to be in power. It took place in Columbia at a town named Cartagena in the year 1849.The other nations of the world were going through pandemics in the nineteenth century. The disease caused people suffering from severe diarrhoea, vomiting, and dehydration. It led to many people dying. It was due to poor medical facilities and poor drinking water just as Dr. Juvenal Urbino has given in the book. The novel talks about civil war that was called La Violencia in the city of Columbia. It was a ten-year-old war between Colombian Liberal and Conservative parties, which costed about twenty thousand lives. The war was taking in the villages where the politicians and the policemen were supporting the Conservative party. They were taking lands from the poor farmers. There were other events in the story as sinking of the ship San José which was carrying metals to the coast of Cartagena which is inspired by historical occurrences. The General in His Labyrinth (1989) It was through the whole story telling that the novel one hundred years of solitude was written. The text in the story of The General in His Labyrinth is beginning where the story ends. The General Bolívar is going through the end of career as well as his life. The writer is giving introduction to the aged Bolivar who was just a meagre shadow of what he was previously. It was set up against the backdrop of his native lands where Marquez narrates a great story about the fictional tale in the last days of the hero. It brings into life a portrayal of the legend and the cultures that he has created. This story goes around where Bolivar goes along the river. The Journeys are similar to metaphors of the character’s emotions and his psychology. As the river is winding up, he is reflecting on the calmer events of his lives. It is the biography of his life as to what he had gone through. He then resigns as the president so as to travel along the coast in order to make his journey to Europe. Marquez has fictional versions of the heroes following the similar paths in order to get same result. He never makes it to the end of the travel, died before reaching the coast. It was like reliving the difficult decisions to leave the land which he was very much part of. Of Love and Other Demons (1994) The novel was first gone for publishing in the year 1994.The novel is named Of Love and Other Demons (Spanish: Del amor y otrosdemonios). In the preface, Marquez says that the book is the representation of the fictions of legends of the writers which were narrated to him by his mother when he was very young. It was about a twelve-year-old girl who has rabies but turns out to be a miracle. She had long flowing hair 218 CU IDOL SELF LEARNING MATERIAL (SLM)

that grow till she dies. In the frame of the narration, it was after the tombs are excavated Marquez sees a similar girl having long red hair which is stuck to her skull. It was the inspiration for the story about love and other demons. Mariana Solanet begins as source of inspiration for Marquez. She tells about the history of Cartagena that the writer talks about in the research done for Love in the Times of Cholera. In 2008 when the opera opened, Love and the other demons were shown. Plot After her death, her hair magically grows back on her skull. The girl named Sierva who is the 12-year-old daughter of Marquis and his wife Bernada.She had to cut her hair as it was promised to be given to the saints when she was born with cord surrounding her neck. She was brought up by the prisoners who had fluency in all African languages and their traditions. In the beginning of the novel, she is bitten up by the dog that has rabies. She had shown no symptoms of rabies. She was given lots of treatments by healing which ended up in making her life a misery. She was then sent to a convent in Santa Clara in order to receive extortion from those who died. She gets sympathy and attention from the priest Father Cayetano who is kind enough to her and says that she does not need to be tortured. The father falls in her love and tells it to her. He begins visiting her in secret times and discusses the future. They eat, sleep as well as recite poems with each, it does not look that they are involved in sex.The father is sent to leper hospital where he does not contract the disease. Maria is then summoned to be tortured not knowing and dies. She was thinking where the father would be kept after her hair was being cut. No One Writes to the Colonel (1961) No one writes to the colonel novel was credited for the economical use of language. Marquez recalled the officer in the Leaf Storm; the two books portray the officer as the central character. The above two along with the third In Evil Hour (1966), hint at La Violencia (the Violence),talks about the decades of gun fighting in the history of Columba which started in the year of 1948.It was a combination of the three books where the centre was one hundred years of solitude. It came into publication in the magazine Mito in the year 1958.Three years after that it came in the form of a novel. Like the previous books Leaf Storm (1955), No One Writes to the Colonel is also a novel based on the fiction type of narration given in detail, about something in between a short story and the novel in full form. It is different from the Leaf Storm as it was not an experimental work, but it focused on forms as well as techniques. The story begins in a simple, sequenced order. This type of narrating is known as linear narrating. The novel is discretely structured seven unnumbered units. The initial three units pay a lot of attention to the colonel who is waiting in curiosity for the mails and makes the decision of changing the 219 CU IDOL SELF LEARNING MATERIAL (SLM)

lawyers if needed in order to file an appeal for getting his pension. To take the narration to the end, there is a parallel story of the rooster going simultaneously. It is the symbol of the hope for him and the whole town. It requires the readers to read it carefully as it is crisp and to the point. A superficial or reading in a hurry will leave the ideas in the mind of the person reading to be a story of no sense, dramatic, vague as well not correlated. Such reactions make a joke about the whole narration in some way or the other. In the most contemporary styles of narrating the story of the book No One Writes to the Colonel has characters which are beyond the main narrative. The storyteller has been able to identify it outside the novel. For example, say the army man has taken off the coffee, his wife has raised the netting for mosquitoes. It was about seven twenty when the army man had completed the novel as well as others. Chronicle of a Death Foretold (1981) Gabriel Marquez’s book Chronicle of a Death Foretold won him the Nobel Prize. It is smaller novel but includes collection of stories. Jonathan Yardley who wrote in the newspaper about the book has said “It is a mini model of complete performance.” In the novel Marquez has created a story based on murder which everyone is aware about. The person narrating tells the story as it happens, in the first-person accounts. But it is reliving the accounts later from a faraway perspective which shares the thoughts of the characters. He adds few creative methods to the murder mystery. Apart from that, in the repetition of telling about the crimes which helps in building the suspense.Even after knowing the identity of murder, the detailing about it is unknown. Apart from having a different viewpoint, the novel has given the author lot of success. There is male dominance in the Latin American culture which is theme for story of passions and criminal activities. With similar works, there is an element of suspense as well as supernatural powers present before the murders. His work is a combination of the elements; these are the words of critic Edith Grossman. He said that Marquez has created an ironical chronicle which moves the readers with combining of fantasies, stories and the facts. 9.3 ACHIEVEMENTS Whether being in the segment of fiction or nonfiction stories, epics or group of stories, Gabriel was now well known in the field of literature. He was among the best- and well- known authors in Spain. He was among those different writers who had been gaining to be successful in the country’s lives and cultural history of the whole. He was a master’s in art of storytelling. In one reviews of New York books they said that there is attention given to details and stories are larger than real life. 220 CU IDOL SELF LEARNING MATERIAL (SLM)

In a review of literary criticism Robert Sims notes, Marquez and his works are relevant part of Latin American literatures. The books had challenges to face with respect to critic from Columbia who were criticising him conservatively after the release of the book 100 years of solitude. Marquez had a significant impact on the literatures in the country of Columbia as well as US. He won Nobel Prize in the year 1982.The literature had reached in the proportion of industrialization as there were no signs of fading away. Hence, Marquez had bought significant impact on the literary field in Columbia. He became a landmark in the field of America and its history. It was throughout US that he got lot of attention. It was the readers and the critics who were looking for more such publications. He helped in refreshing, redoing and reforming the literature in the country of Columbia as well as rest of the Latin American nation. After his death, Marquez and his family had decided to deposit his paper and his personal belongings at the Texas University. It was kept at the Harry Ransom Centre which is a research library and a museum as well. Marquez had won Nobel Prize for Literature on 8th December of 1982.He was conferred it for his works on novel as well as shorter story. There is combination of fantasy and reality which comprises of imaginary world, reflections as well the wars. His speeches of accepting was titled the solitudes of Latin America. He was the first person from Columbia as well as Latin American citizen who has won Nobel Prize for his literatures. After receiving the Nobel Prize, Marquez told a reporter that” I have the feeling that they are giving me the prize for the contribution to the literature to the world.” 9.4 WHAT MAKES MARQUEZ A POSTCOLONIAL WRITER World renowned author Gabriel Marquez uses different topics in order to represent on the European sovereign nations. Alienating has become more relevant themes. According to Gikandi, alienating is recognised as a representation of the post colonized era in such a way that is recognises the character but as to why it exists. The popular story of Marquez named 100 years of solitude is based on alienating. The title in itself is representative of the fact that Macon do is a small town based on the fiction where the story takes place. It is found in the middle of the forest away from the world of civilization in the first half of the story. Physically secluding is not a form of alienation, but the reality does exist in showing it. Getting isolated from within is the feature of all the characters in his books. Katalin Kulin, who is the fiction author in Latin America that keeping in isolation, can cause corruption. This is an internal as well as an external feeling. Marquez has signified it by removing the name of town’s founder named AcardioBuendia.He was a leader by birth and very quiet in nature. He began losing the senses after his friend’s death. His family began to feel discomforting with his murmurs and soon he lost his speaking ability for his whole life. The 221 CU IDOL SELF LEARNING MATERIAL (SLM)

new language which he learnt now was Latin. It is the time where Jose’s wife Ursela sends him to be tied to a tree till his death. Language is the main barrier in the whole picture. So, Marquez hence proves that problems are created due to dismissing of culture and thereby having identity crisis. But in routine life, it may never happen. But the readers are made to believe it and hence there is existence of magical reality. Marquez had tied up the heads of the towns for representing South American nation. It was treated low by the people colonizing. Few well known writers had said these lower treatments continued as a theme in his writing. In his stories “The Very Old Man with Enormous Wings “the writer from Columbia talks about a man who is found in a garden and in captivity. He looks like an angel with wings and doing his sailor talks. He is held captive, but the man still remains calm and silent.Inspite of his treatments as a spectator he is doing as he has been told to him. Magical reality is used as a dimension to show that he is not able to communicate with the person. His physical deformities also are a barrier between him as well as the villagers. In this way he just becomes a showpiece for everyone to watch. This is also a type of reality which cannot be ignored. The bigger idea of Marquez was to find a representing for the whole of Latin America. Recurring themes suggesting postcolonialism Solitude The central topics for all Marquez’s novels are loneliness. Just as Pelayo who writes about Love in the Time of Cholera, it is among those of Marquez works were being alone is the expression of the individuals and humanity. This is depicted in way of love as wellbeing loved. When Mendoza questioned him about the solitudes present in his writings. Where is the beginning of this emotion? Is it in your childhood? “Marquez had replied saying that he thinks everyone has the same problems. There are different ways of showing it to others. This feeling is present in works of different authors. They have found ways of expressing it differently. While delivering his Nobel Prize speech on the Solitude of Latin America, he is relating these themes to the American experiences. He has said that the way we interpret the reality is different for each person. It helps us get closer to the things we do not know by feeling free and expressing faith in it. La Violencia In many of Marquez’s novels which include No One Writes to the Colonel, In Evil Hour, and Leaf Storm, he has talked about the violence, \"a civil war that happened between the conservatives and liberals in the 1960.It caused the death of thousands of people in Columbia. There are references to some amount of violence in his works. For instance, the central 222 CU IDOL SELF LEARNING MATERIAL (SLM)

characters in the stories live under unpredictable conditions such as curfews, censorships as well as taking away of the newspaper. The Evil Hour which is not among the famous novels of Marquez is noted by the infighting of violence which is distributed among the social disintegrated society which has been in sighted by violence. But he has managed to show the corruption in nature as well as injustice done during the times of violence. He refuses to give his work as a tool for fulfilling the political ambitions. According to him, the duties of a writer during revolution are to write properly. Its aim is to gather attention of the readers by its political as well as socialized content. It is the power to show reality by exposing it. 9.5 SUMMARY  Gabriel Marquez whose nickname was Gabo was born on March 6th, 1928.  Leaf Storm (La Hojarasca) was Garcia Marquez’s first novel. It was the story about the old army man who was like Marquez own grandpa. He was trying to give a good cremation to the unknown doctor from France.  The novel one hundred years of solitudes was first coming for publishing in the Spanish magazine under the name Cienaños de Soledad in the year 1967.It was among the famous works as well as excellent examples in his styles of magical realities.  The book The Autumn of the Patriarch is a flow of instances on the lives of the rulers outside.  Love in the times of Cholera was set up in the unknown city which was situated along the Magdalena River which was called Cartagena in the country of Columbia. The book is referencing the happenings in the history of Columbia.  In getting the narratives in the works of fiction particularly One hundred years of solitude. The text of The General in His Labyrinth begins where the story ends. It is where General Bolívar is facing ends of his career as well as life.  Marquez had claimed in the book Of Love and Other Demons is the fictional representative of the legendary author. The story was told to him by his mother when he was fourteen years old.  The books No One Writes to the Colonel and Leaf Storm gives depiction of the old army man as the central character. However, there are differences among the two. The two along with the third one, In Evil Hour came in the year 1966 which hints at violence, there was more than twenty years of gun fighting in the history of Columbia starting from 1948.  Marquez’s book Chronicle of a Death Foretold is among the Nobel Prize winning book for short stories. He has related the background to a murder which everyone is aware of before it takes place. 223 CU IDOL SELF LEARNING MATERIAL (SLM)

 There is recognition for Marquez in the field of story writing. It can be either fiction or nonfiction and epic story or topic based. He is considered the most influential writers in Spain after Cervantes.  Marquez was conferred with the Nobel Prize in the field of Literature. It was given on 8th December in the year 1982 for his literary works.  Gabriel Marquez has used varied topics in the post colonization era in order to show his opinion on the Sovereign Nations of Europe.  The main topic for all his works is the loneliness.  Marquez’s works include No One Writes to the Colonel, In Evil Hour, as well as Leaf Storm which is also called La Violencia.  Marquez though has managed to portray the corruption and injustice caused due to violence. He had refused to work for political gains. 9.6 KEYWORDS  Gabriel Garcia Marquez: A writer from Columbia who was multitalented in writing stories, scriptwriter as well as a journalist.  Author: The person who generates the idea of the written material in the form of books or plays.  Postcolonial: It is happening after the end of colonized era.  Columbia: It is the capital of the US state. It is also the second largest city of USA.  Novel: A fiction narration of the length of the book showing the characters as well as actions with some reality. 9.7 LEARNING ACTIVITY 1. Have a discussion in the class to share idea on what students reactions are regarding solitude? How do they respond in such kinds of situations? ………………………………………………………………………………………………… ………………………………………………………………………………………………… 2. Assume some of Marquez’s main characters in the class and present a story for it. ………………………………………………………………………………………………… ………………………………………………………………………………………………… 9.8 UNIT END QUESTIONS A. Descriptive Questions Short Questions 224 CU IDOL SELF LEARNING MATERIAL (SLM)

1. Who was the inspiration behind the creation of the character Colonel in Marquez’s novels as well as story? 2. What does the concluding remarks in the book The Autumn of the Patriarch show? 3. Which three books of Marquez show signs of violence? 4. What do you mean by La Violencia? 5. What was Marquez doing before he became a writer? Long Questions 1. Write a short note on Marquez the writer. 2. Mention the main theme in the work done by Marquez? Give some examples. 3. Discuss about Gabriel Marquez as a writer during post colonising? 4. Describe about Marquez’s initial works in literature? 5. Discuss in brief about the political instability that has been shown in writing of Marquez. B. Multiple Choice Questions 1. GabrielMarquez’s nickname is ______________. a. Gabriel b. Gabito c. Gab d. None of these 2. GabrielMarquez’s first book was named ______. a. One Hundred years of Solitude b. Leaf Storm c. Love in the Time of Cholera d. The General in His Labyrinth 3. One Hundred Years of Solitudenovel was set in a place called ______________. a. Macondo b. Mondaco c. Monaco d. Modanco 4. Which of the book of Marquez is relating to murder which everyone is aware of even before happening? a. The Story of a Shipwrecked Sailor (1970) b. The Solitude of Latin America (1982) c. The Fragrance of Guava d. Chronicle of a Death Foretold 225 CU IDOL SELF LEARNING MATERIAL (SLM)

5. Which of them is the most common theme found in novels of Marquez? a. Racism b. Solitude c. Hatred d. None of these Answers 1-(b), 2-(b), 3-(a), 4-(d), 5-(b) 9.9 REFERENCES Textbooks  Echevarría, R. G., & Echevarría, R. G. (1998). Myth and archive: A theory of Latin American narrative. Duke University Press.  Fallowell, D. (1994). 20th Century Characters. Vintage.  Wilson, S. R. (1983). Gabriel García Márquez, El olor de la guayaba, Conversations con Plinio Apuleyo Mendoza.(Gabriel García Márquez, the Scent of the Guava, Conversations with Plinio Apuleyo Mendoza).  Bell, M. (1993). Solitude and Solidarity: The General in his Labyrinth. In Gabriel García Márquez (pp. 127-143). Palgrave, London. References  Bell-Villada, G. H. (2010). Garcia Marquez: The man and his work. Univ of North Carolina Press.  Ferdous, F. (2015). Hybridity and Mimicry: The Location of Culture and Identity in V.S. Naipaul's A House for Mr. Biswas and The Mimic Men, Express, International Journal of Multi-Disciplinary Research, pp. 1-16.  Genetsch, M. (2003). Difference and Identity in Contemporary Anglo-Canadian Fiction, Dissertation, Trier University. Germany.  Dar, S. (2013). Hybrid accountabilities: When western and non-western accountabilities collide. Human Relations, Vol.67(2).  Darby, P. Paolini, A J. (1994). Bridging International Relations and Postcolonialism. Alternatives 19, pp. Websites  https://www.researchgate.net/  https://www.studocu.com/  https://literariness.org/ 226 CU IDOL SELF LEARNING MATERIAL (SLM)

UNIT-10 GABRIEL GARCIA MARQUEZ: ONE HUNDRED YEARS OF SOLITUDE Structure 10.0 Learning Objectives 10.1 Introduction to Postcolonialism 10.2 Plot Summary and Analysis 10.3 Major Themes 10.4 Character Analysis 10.5 Critical Appreciation of The Novel 10.6 Summary 10.7 Keywords 10.8 Learning Activity 10.9 Unit End Questions 10.10 References 10.0 LEARNING OBJECTIVES After studying this unit, student will be able to:  Explain the context of the novel.  Describe literary devices used in the novel.  Evaluate the novel. 10.1 INTRODUCTION Of the multitude of works by Gabriel García Márquez , this novel is the most captivating and the most perplexing. From the earliest starting point, we perceive similar components — yet more detailed ones — as those of the characters and circumstances in his more limited fiction. In the expressions of the Peruvian writer Mario Vargas Llosa: \"100 Hundred Years of Solitude extends and magnifies the world erected by his previous books.\" Indeed, the novel is a splendid combination of components from all of García Márquez' past stories, including components from the fiction of other American authors, scriptural illustrations, and individual encounters known distinctly to the writer. 227 CU IDOL SELF LEARNING MATERIAL (SLM)

The fundamental design of the novel follows the annal of the Buendía family longer than a century. It is the historical backdrop of a family with certain redundancies, disarrays, and reformist decay. Starting at some point in the mid nineteenth century, the novel's interval of time covers the family's ascent and tumble from the establishment of Macondo by the young patriarch, José Arcadio Buendía, until the passing of the last individual from the line. All through the story, the destinies of the Buendías and Macondo are equal reflections. Truth be told, we witness the historical backdrop of a group who, similar to the meandering clans of Israel, are best perceived regarding their beginning from a solitary family. 100 Hundred Years of Solitude misrepresents occasions and individual attributes so much that it is exceptionally hard to characterize its transcendent point. Once in a while it is by all accounts parody; at different occasions it has all the earmarks of being an inspiration of the supernatural. Maybe we can be most secure in seeing that the novel exhibits that the line among dream and the truth is exceptionally discretionary. It shows, for example, that our feeling of specialized and material advancement is relative, and that backwardness, for example, can be caused as much by friendly detachment as by chronicled distance on schedule. Everything relies on one's social reference. An ordinary telescope is a marvellous instrument to either individuals confined from current progress, or, eventually, to all youngsters. 100 Hundred Years of Solitude comprises of twenty unnumbered parts or scenes. The main section portrays the beginning of the Buendía faction in the anecdotal town of Macondo. The story starts in the memory of Colonel Aureliano Buendía, child of Macondo's originator, as he reviews the first occasion when that his dad took him to \"find ice.\" The Colonel's memory summons an unblemished world, yet this second is dominated by the way that he is confronting a terminating crew. Without a moment's delay, the all-knowing storyteller makes us mindful that we are in the memory of a character just as tuning in to a recorded fantasy. Having lived in actual segregation, just as mental isolation, individuals of Macondo find out about \"progress\" from the meandering vagabonds — one of whom, Melquíades, has a composition in Sanskrit code that contains the set of experiences and destiny of the Buendía family. This account will be the composition that is being decoded by the last grown-up Buendía not long before he passes on. The epic will continually move through time, with the goal that memory and direct, narrative time are combined as one to give the activity a melancholy, spooky tone. The Colonel's beloved memory — as he faces an execution crew — acquaints us with the incongruity of Macondo, an enthusiastic wilderness town that time had once neglected and that was situated at a point that appeared \"unceasingly dismal.\" at the outset, before \"progress\" came to Macondo, José Arcadio Buendía and his better half, Úrsula, on the grounds that they were cousins, lived in dread of generating a youngster with a ponytail. We are informed that a kid with such a tail had been brought into the world to Úrsula's auntie and 228 CU IDOL SELF LEARNING MATERIAL (SLM)

José Arcadio Buendía's uncle. This dread is later to be acknowledged in the relationship between the last Buendías, the scholarly Aureliano Babilonia and his auntie, Amaranta Úrsula. Inbreeding, at that point, turns into the first sin that undermines six succeeding ages of Buendías. From the dread of having an infant with a pig's tall, the novel's chief topic of isolation is mental, as much as topographical; their innate dread gives them an unreasonable energy for the phenomenal, and it injures their capacity for earnest love and legit correspondence. After her union with José Arcadio Buendía, Úrsula will not consummate their association because of a paranoid fear of considering a beast. She wears a celibacy belt to keep her better half from engaging in sexual relations with her. At some point, nonetheless, José Arcadio Buendía routs a helpless washout in a cockfight. Prudencio Aguilar insults the youthful Buendía about Úrsula's virginity, an affront that is focused on José Arcadio's masculinity. José Arcadio, in a reckless anger, tosses an antiquated lance through Aguilar's throat and executes him. Úrsula later sees the dead man's phantom attempting to connect the opening his throat with \"a plug of esparto grass.\" Aguilar's apparition frequents the couple until they are compelled to escape their familial town. In this way, the Buendías set out with a portion of their companions on a long excursion through the wilderness. Two debilitating years after the fact, in the wake of outdoors in the wilds one evening, José Arcadio Buendía has a fantasy about a city of houses with reflected dividers. He accepts this fantasy as a heavenly sign, and he persuades his adherents to fabricate Macondo on the very site. At the point when José Arcadio Buendía, his better half Úrsula, and about twenty different travelers settle there, the world is supposed to be later to such an extent that numerous things don't have names and, in this manner, \"it was important to point.\" José Arcadio sorts out his little settlement into a model local area. However, there is as of now something abnormal about it. José Arcadio had arranged the roads to conceal every one of the homes from the tropical sun, yet Macondo stays a consuming where the pivots and entryway knockers soften with the warmth, \"a promontory encompassed by water where water was never known to be.\" When a warmth wave happens in Macondo, men and monsters go frantic and birds assault houses; later, the town is burdened by a plague of sleep deprivation, and, significantly later, things must be marked. In the long run these names must be put with regards to a thing's capacity. Happening not long after Rebeca's baffling appearance, a sleeping disorder plague causes the deficiency of memory as well as forestalls rest. The outcome is that the residents stay up evenings entertaining each other with strange stories like the one about the capon: \"an unending game where the storyteller inquired as to whether they needed him to reveal to them the tale about the capon, and when they addressed indeed, the storyteller would say that he had not requested that they say indeed, yet whether they needed him to disclose to them the tale about the capon, and when they addressed no, the storyteller revealed to them that he 229 CU IDOL SELF LEARNING MATERIAL (SLM)

had not requested that they say no, yet whether they needed him to disclose to them the anecdote about the capon, and when they stayed quiet the storyteller revealed to them that he had not requested that they stay quiet yet whether they needed him to reveal to them the tale about the capon . . . etc and on in an endless loop.\" As the names and employments of things are being lost, José Arcadio constructs a crude PC word reference. Yet, Melquíades, the wanderer, gets back to Macondo with a solution for the sleep deprivation plague when José Arcadio has customized fourteen thousand passages. The obliteration of memory, similar to infirmity, flags the start of the change of awareness; the sleep deprivation plague is an illustration for Macondo's ancient honesty, similarly as its fix is the sign of its repeating get back to history, to irreversible sequential and mental time, and to a move out of an incredible confinement. This astounding setting is the stage for the activity of the novel as it identifies with the Buendías. As in the Bible, the beginnings of things are in the words that carry them to the light of human awareness. Thus, the story begins in the memory of how a youngster finds interestingly something that is very typical but which we realize will be found by all kids forever to come. For this situation, the kid isn't just the Colonel however his dad too, the patriarch José Arcadio Buendía, who has a virtuous interest with things that were ordinary for any remaining individuals aside from the Macondians. 10.2 PLOT SUMMARY AND ANALYSIS In a nutshell One Hundred Years of Solitude is the tale of seven ages of the Buendía Family in the town of Macondo. The establishing patriarch of Macondo, José Arcadio Buendía, and Úrsula Iguarán, his better half (and first cousin), leave Riohacha, Colombia, after José Arcadio murders Prudencio Aguilar after a cockfight for proposing José Arcadio was barren. One evening of their migration venture, while outdoors on a riverbank, José Arcadio dreams of \"Macondo\", a city of mirrors that mirrored the world in and about it. After arousing, he chooses to set up Macondo at the riverside; following quite a while of meandering the wilderness, his establishing of Macondo is utopic. José Arcadio Buendía trusts Macondo to be encircled by water, and from that island, he develops the world as indicated by his discernments. Not long after its establishment, Macondo turns into a town frequented by irregular and phenomenal occasions that include the ages of the Buendía family, who can't or reluctant to escape their intermittent (for the most part self-dispensed) hardships. For quite a long time the town is lone and detached to the rest of the world, except for the yearly visit of a band of wanderers, who show the residents innovation like magnets, telescopes, and ice. The head of the wanderers, a man named Melquíades, keeps a dear fellowship with José Arcadio, who turns out to be 230 CU IDOL SELF LEARNING MATERIAL (SLM)

progressively removed, fixated on researching the secrets of the universe introduced to him by the vagabonds. At last, he is made crazy, talking just in Latin, and is attached to a chestnut tree by his family for a long time until his passing. In the end Macondo gets presented to the rest of the world and the public authority of recently free Colombia. A manipulated political race between the Conservative and Liberal gatherings is held around, rousing Aureliano Buendía to join a common conflict against the Conservative government. He turns into a notable progressive pioneer, battling for a long time and enduring numerous endeavors on his life, in any case tires of war and signs a truce with the Conservatives. Frustrated, he gets back to Macondo and spends the remainder of his life making minuscule goldfish in his workshop. The railroad comes to Macondo, getting new innovation and numerous unfamiliar pilgrims. An American organic product organization sets up a banana ranch outside the town and fabricates its own isolated town across the waterway. This attendants in a time of success that closes in misfortune as the Colombian armed force slaughters a huge number of striking ranch laborers, an episode dependent on the Banana Massacre of 1928. José Arcadio Segundo, the solitary overcomer of the slaughter, discovers no proof of the slaughter, and the enduring residents will not really accept that it occurred. By the novel's end, Macondo has fallen into a frail and close deserted state, with the last Buendías being Amaranta Úrsula and her nephew Aureliano, whose parentage is covered up by his grandma Fernanda, and he and Amaranta Úrsula accidentally start a perverted relationship. They have a kid who bears the tail of a pig, satisfying the deep-rooted dread of the long-dead female authority Úrsula. Amaranta Úrsula kicks the bucket in labour and the youngster is eaten up by subterranean insects, leaving Aureliano as the last individual from the family. He interprets an encryption Melquíades had given up in an original copy age prior. The mysterious message illuminates the beneficiary regarding each fortune and adversity that the Buendía family's ages survived. As Aureliano peruses the original copy, he feels a windstorm beginning around him, and he peruses in the record that the Buendía family is bound to be cleaned from the substance of the Earth as a result of it. In the last sentence of the book, the storyteller depicts Aureliano perusing this last line similarly as the whole town of Macondo is scoured from presence. Section-wise Summary and Analysis Section 1-4 100 Hundred Years of Solitude has twenty unnumbered sections. For comfort, these have been named as segments 1 through 20. The epic starts in the review present — that is, as Colonel Aureliano Buendía faces a terminating crew, he recollects the first occasion when that his dad took him to \"see ice.\" The 231 CU IDOL SELF LEARNING MATERIAL (SLM)

all-knowing storyteller will depict the vast majority of this novel through the recollections of its different characters. Consequently, we are acquainted nearly immediately with the novel's solid feeling of imagination. Through the Colonel, the storyteller inspires the past, and the Colonel's dad, José Arcadio Buendía, the Colonel's mom, Úrsula Iguarán, the vagabond Melquíades, and the little band of pioneers who established the small town of Macondo. Macondo is depicted as a put on no guide; truth be told, it is more a course than an area. It is so established before, where time has stopped, that the town has an ancient climate. Note that the \"town\" bears a nearby similarity to the \"memory\" of a fantasy, for just in memory times do not move, and just in a fantasy — when a fantasy is recollected — is somewhere actually no spot. In Macondo, there is, apparently, wizardry in all things. Also, isolation plagues and pervades everything. The town is portrayed as lying outside civilization, behind mountains that lead to the old city of Riohacha, a spot that many, numerous years prior was home to the Buendía predecessors. Riohacha is eminent as the object of an assault by Sir Francis Drake. This spectacular episode is the impetus behind the Buendías' dread of interbreeding, and \"getting away\" from Riohacha is vital for the establishing of Macondo. The creator at that point portrays the tale like beginnings of Macondo by reproducing scenes from an earlier time. We are encountering, figuratively speaking, a story prognosticated. At the point when we finish the novel, the last Buendía to arrive at masculinity will understand that Melquíades' original copies, written in code and Sanskrit, tell the set of experiences — ahead of time — of the Buendía family, its fortunes, and its breakdown. For the present, notwithstanding, we should tune in to hints from the storyteller, unpretentious pieces of information in the portrayal, and understand that there is a bound affectability inside each Buendía, of which each is uninformed. In this way, we start, unexpectedly, with Macondo's being established as such another Eden. Actually, it takes after Eden, and its patriarch, José Arcadio I, is solid and certain that it will thrive. He is pervaded with a feeling of fate, notwithstanding, that, following 100 years, it will end in insensibility. He longs for a town with mirrors for dividers; hence, he starts the trip that prompts the town's underlying site. A puzzling \"voice\" orders him to establish Macondo on one specific site. Effectively, standard relations between things become mixed and produce a far-fetched, yet a grand feeling of mysterious reality. In transit through the wilderness, for instance, the pioneers find an old Spanish vessel embellished with orchids and \"possessing a scent like isolation and blankness.\" The boat has set decaying in a wilderness clearing for quite a long time, and we are told by the storyteller that the boat is a similar one which Colonel Aureliano Buendía will find years after the fact during the long arrangement of common conflicts that he commandants. The pioneers' experience with the boat portends the whole-world destroying destiny of the Colonel and gives the principal segment sensational energy. 232 CU IDOL SELF LEARNING MATERIAL (SLM)

Macondo, with its Eden-like separation, is a position of isolation. However, the town-to-be has allured the pilgrims to its limit segregation. Macondo's distance is depicted in the mytho- graceful language of the book of Genesis, and García Márquez ' language inspires crude desires. Macondo, nonetheless, is less a heaven than a limbo. That is, the pilgrims become such a large amount of the town's crude, pre-human instinct that they endure a psycho-social condition in which they are not current men, nor are they savages. They are essentially, remarkably \"extraordinary,\" suspended on schedule. Basic things become lost in light of the fact that the names depicting their utilization are neglected. Things from the socialized world or previous history have either been neglected or are considered new to such an extent that it gets significant to point since things have not yet gotten a name. We may consider this perception a wry and maybe whimsical one; yet, upon reflection, we would need to yield that our lives are, indeed, loaded with experiences with things for which we need distinguishing names — things, which to portray, it gets vital \"to point.\" The vagabond Melquíades carries innovations to Macondo, for example, magnets and an amplifying glass the size of a drum. Afterward, different wanderers will bring \"sewing machines that lessen fevers,\" and, at long last, they will bring the world's biggest, generally sparkling, \"hot\" precious stone: ice. Furthermore, the wanderer Melquíades gives the patriarch, José Arcadio I, a Sanskrit original copy. This vagabond will start the patriarch with the aspiration to get information and force. Melquíades, notwithstanding, is a kind wizard instead of a Mephistopheles, yet he moves José Arcadio I with the Faustian fantasy about driving Macondo out of its limbo-like detachment. Such an objective requires the extraordinary insight and force (so it would appear to the patriarch) that lone the vagabonds have. Undoubtedly, one of the wanderer clans is accounted for to have been completely destroyed for having risen above all information. That report will later demonstrate vague and fabulous, as will the report of the main \"demise\" of Melquíades. Everything appears to be vague; the tone of the storyteller is reluctant, hesitant yet continually persuading. There is a sort of flippant, harsh quality to the dream, just as to the humour. At the point when Melquíades is accounted for dead, the creator depicts the vagabond as being eaten up by squid. How might the storyteller think about the squid? Yet, the purpose of telling how Melquíades kicks the bucket is ridiculing and entertaining. More significant, the wanderer's death uncovered his disciple, José Arcadio I, to the next vagabonds' perplexing witchcraft. Dread is a steady leitmotif, or topic, in the novel, and dread of inbreeding gives a catalyst to the particular Buendía struggle. The chain of occasions starts in Úrsula Iguarán's dread of sexual relations with her better half, José Arcadio Buendía. Their families had intermarried for quite a long time, and one such association had created a youngster with a ponytail. After her own marriage, along these lines, Úrsula is grasped with dread of delivering another beast, thus she won't consummate her marriage. On one level, she shows silly agitation, giving 233 CU IDOL SELF LEARNING MATERIAL (SLM)

another occasion of the creator's humour; for instance, she wears a virtue belt with a thick iron latch. Then again, the aftereffects of interbreeding and in-reproducing are notable and dreaded — in even the crudest human social orders. In any case, understand that the motivation behind why the Buendías have been rehearsing inbreeding for quite a long time is a direct result of their separation. They have been caught in isolation for an extremely significant time-frame, and this condition turns out to be much more trait of their lives in Macondo. The probability of interbreeding is in this way more likely than in cultivated, more crowded networks since social segregation makes perverted partiality unavoidable. The dejection of the Buendías makes it eventually unthinkable for them to impart their love to anybody from an external perspective. Individuals like the pianola master, Pietro Crispi, are consistently outsiders and are handily dismissed — particularly for heartfelt inclusion with an individual from the Buendía family. This sort of serious between familial fondness in a real sense devours the whole family's consideration. Eventually, such depraved energy redirects the family from the undertaking of self-protection. Inbreeding becomes claustrophobia, a methods for convincing the family to stay together perpetually or to, at last, get back to the overlay. There is a fantastic tone to the story as the stunning realities of the Buendía ancestry unfurl. The main Buendía-Iguarán coupling was identified with Sir Francis Drake's assault on Riohacha. Ages later, the grandma actually dreaded comparative attacks; so, the family moved to a town where the Buendías resided. There starts the forbidden associations that brought about a Buendía being brought into the world with a ponytail. Hundreds of years after the fact, Úrsula Iguarán actually fears such a youngster. In any case, her virtue belt makes her better half the object of neighbourhood jokes concerning his masculinity. Following a cockfight, the gloomy failure, Prudencio Aguilar, makes an embarrassing affront to Úrsula's significant other. That affront prompts the Buendía patriarch to push his lance through Aguilar's throat. There is a terrible, Freudian eccentricity to the slaughtering, but the occurrence is one of amazing brutality. A piece of the frightfulness is alleviated by the hearty humour with which García Márquez portrays the ceremonial way that José Arcadio I handles the lance. Following the homicide, José and Úrsula finally perfect their marriage. The \"apparition\" of Prudencio Aguilar keeps on experiencing the lance twisted in his throat, and he comes to frequent the Buendía family. Úrsula regularly sees him urgently attempting to close his injury with \"a fitting of esparto grass.\" Or else, she discovers him meandering through the house, searching for a glass of water. Aguilar's apparition turns into a heinous presence, but then his phantom turns into an augmentation of the couple's mental blame and fears. In his nineteenth-century work of art, Thérèse Raquin, French author Emile Zola has the dead spouse of a two-timing wife show up as the grim type of blame in order to frequent both wife and darling. The utilization of a \"phantom\" in 100 Hundred Years, nonetheless, isn't disastrous. It is funny. The humour of Aguilar's apparition showing up proposes 234 CU IDOL SELF LEARNING MATERIAL (SLM)

something especially like the ridiculous humour of the film The Rocky Horror Motion Picture Show or Mel Brooks' Young Frankenstein. However, the phantom is, one might say, to some degree frightening to the Buendías. One evening, for instance, the couple can't persevere through the presence of the specter anymore, thus they escape. Accordingly, they start the journey that prompts the establishing of Macondo. José Arcadio II is brought into the world on the endeavour through the wilderness. Probably, he was considered the night Aguilar was executed when José Arcadio I in a real sense assaulted his significant other due to her detestable virtuousness belt. The storyteller, notwithstanding, never dives into the intention behind Úrsula's admission to her significant other. She just submits to his manly enthusiasm and to the fierce yet comic articulation of Latin machismo. Now, the plot takes a huge new heading. José Arcadio dreams of a city with dividers of \"mirrors.\" In a scene suggestive of Moses' accepting the Ten Commandments, a \"voice in the wild\" orders José Arcadio I to establish Macondo on one explicit plot of ground. There, the town jumps up, and, quickly, it sinks into separation. José Arcadio II's introduction to the world is trailed by the introduction of Aureliano, who will turn into the Colonel. (Amaranta is conceived later.) Until the appearance of the wanderers, there is simply a crude ancestral sort of presence. As in Faulkner's legendary area of Yoknapatawpha, very little occurs in Macondo. The environment proposes repetition and tedious events in similar activities, similar faces, and surprisingly in similar names for individuals from a similar family. Relations are loaded with perverted suggestions; sexual energy, as opposed to cherish, penetrates the texture of social cognizance, and sex gives the relations between the Buendías a static electric quality, to such an extent that sparkles appear to be prepared to fly whenever. Various accounttwisting from the focal plot topic start to arise. To the frightfulness of his mom, José Arcadio II and the spiritualist and servant, Pilar Ternera, start an issue. Úrsula's intercession makes José Arcadio II escape with the leaving wanderers. At that point out of nowhere Úrsula leaves looking for her child, and she doesn't return for a half year. At the point when she returns, she is without her child. All things considered, she carries with her a gathering of expert individuals who rush Macondo's progression into the 20th century, into a future loaded up with \"material advancement.\" Pilar Ternera bears José Arcadio II a child, José Arcadio — nicknamed \"Arcadio.\" The youngster, notwithstanding, is raised by his grandparents, something that demonstrates both family unwaveringness and its uncertain clashes with machismo. For this situation, the Buendía family acknowledges without exhibition or animosity the abundances of this child, who built up a tremendous, enormously virile penis during adolescence. Pilar Ternera, thus, at that point satisfies a comparable need with José Arcadio II's forlorn sibling Aureliano (later, to be the Colonel). Furthermore, not long in the wake of bearing José Arcadio II a child (\"Arcadio\"), she brings forth Aureliano's child: a kid who is named Aureliano José. 235 CU IDOL SELF LEARNING MATERIAL (SLM)

The incredible comic pictures that have as of recently appeared to be simply expository gotten more intricate and essential to the novel's tale like story. A Guajiro Indian, Visitación, shows up in Macondo, escaping her town's plague of sleep deprivation and amnesia. Presently, this affliction enters Macondo when the secretive Rebeca shows up around. We are told then that as a baby, Aureliano had visionary forces: he anticipated that a cooking pot of his mom's would fall — not long before it really did. Presently he predicts the appearance of his \"progression sister,\" Rebeca, who will carry the plague to Macondo. As the residents fail to remember the names of things and as they endure intense a sleeping disorder, the disease turns into an illustration for lost honesty and pre-awareness. Macondo has not risen up out of its crude state. All things considered, the sleep deprivation plague has made the town relapse to the degree of lethal cognizance, alert yet unfit to verbalize cognizant impressions. For as the names of things and the names of the things' capacities are lost, language itself decays, and human awareness sinks into creature like thoughtlessness. At that point — as though by sorcery — a \"restored\" Melquíades shows up — with a remedy for the sleep deprivation plague. Up to that point, the patriarch of the Buendía group, José Arcadio I, had been unproductively attempting to safeguard the names of things with a word reference — like PC, prevailing with regards to making 14,000 sections. Perusers of García Márquez' other fiction will take note of the return of names and sorts of characters from his previous stories and novellas. Notables are the artist Francisco the Man (who crushed the villain in a story centring on a duel of ad lib) and \"Catarino's store\" (from the short story \"The Sea of Lost Time\"), Macondo's first civic chairman (the Magistrate), Don Apolinar Moscote, and, later, the ministers Fathers Isabel and Nicanor (from the story \"The Evil Hour\"). The utilization of stock kinds is with regards to the South American narrating custom, the cuento, in which a gathering of creators re-recount a similar story to see which one of them can advise it with the most overstated detail and humour. A few pundits consider this to be similar to a critical factor in present day European and South American writing. On the off chance that one peruses Labyrinths by the French writer Alain Robbe-Grillet, one can see how this custom can appear to be present day but then unfamiliar to most contemporary American scholars. García Márquez is a lot of another, imaginative voice in writing. He isn't only another South American essayist. He appears to have perused the entirety of the significant essayists of the most recent eighty years — just as being comfortable with the practices of all Greek- cultivated Western writing. Like the Irish essayist James Joyce, García Márquez utilizes — at times to mind blowing overabundance — the full array of melodious language and artistic stunts accessible. In 100 Hundred Years, García Márquez even acquires characters that show up in another person's fiction — to be specific, the Mexican progressive Lorenzo Galiván, acquired from the novel The Death of Artemio Cruz via Carlos Fuentes. 236 CU IDOL SELF LEARNING MATERIAL (SLM)

With the appearance of oneself declared civic chairman, Don Apolinar Moscote, in Macondo, the town happens to political age. Moscote is a moderate legislator, and he arranges that the entirety of the houses in Macondo should be painted blue. That order lays the seed of common struggle and starts the makings of the brave endeavors of things to come Colonel Aureliano Buendía. Above all, Aureliano turns out to be fiercely charmed by the civic chairman's most youthful girl, the pre-juvenile Remedios. García Márquez utilizes this anguished relationship to caricaturize the early sexual wantonness forced on numerous youthful females in numerous Latin American nations. Remedios is depicted as being youthful to such an extent that she actually wets the bed. Her pledged is, interestingly, an impression of misrepresented, yet delicate, machismo. For while masculinity in numerous South American nations surmises sexual force in the man, machismo attaches male wantonness to virginity in the \"macho\" male's sexual accomplice. In any country where sexual indiscrimination is praised in the male however denounced in the female, virginity should be commended past any ideas of good judgment. Therefore, the \"adoration kid\" and the chiquita (the custom-based law spouse) are discovered to be the standard in numerous South American nations. In view of that, we should discover nothing uncommon about wrongness in 100 Hundred Years. Yet, the baffling appearance of Rebeca and her ensuing reception by the Buendías are just the creator's cynical perspective on this wonder. When a sleeping disorder and amnesia plague has been restored, Macondo starts to thrive. The town gets mail administration, and there is traffic among Macondo and different pieces of the country. Trade starts, and Úrsula connects with Pietro Crespi, an Italian pianola master, to show the young ladies Rebeca and Amaranta to move. The Buendías start to have average yearnings. However, one notification, while Macondo is a town without an economy; it is a horticultural local area. Like such countless underdeveloped nations, the town should buy unfamiliar, made products with its crude materials. Indeed, even specialists like Pietro Crespi are outsiders, thus benefits, just as items, should be imported. Macondo arises, at that point, as a sort of representation for South America and its relations with such created nations as the United States. There is an extraordinary longing for progress in Macondo, yet there are just normal assets to pay for that request. In the last examination, the imported innovation and produced merchandise that Úrsula's outsiders bring are more costly than the normal assets that the Macondians exchange trade. Like the innovations that Melquíades acquaints with the town, the phenomenal innovation of progress stays more inquisitive than helpful. Furthermore, the information to create such brilliant things continually evades the Macondians themselves. Macondo gradually moves out of its incredible disengagement. It gradually is attacked by outsiders — Yankees, government authorities, Arab traders, and ruthless soldiers. In this report, Macondo might be viewed as a microcosm of South America's set of experiences. It is a fertile, yet a bound Garden of Paradise, which loses its mysterious honesty to outsider 237 CU IDOL SELF LEARNING MATERIAL (SLM)

qualities, legislative incompetence, Yankee colonialism, expanded machismo, and human avarice. Eventually, Macondo is the apotheosis of the South American character, the pioneer youngster become freed man. Generally, the subplots in this first segment concern sentiment. Rebeca and Amaranta become fixated on the Italian pianola master. The impossible sentiment among Aureliano and Remedios Moscote blooms. Amaranta and Rebeca start a brutal competition for the fondness of Pietro Crespi. These sentiments all have a comic touch to them. Out of despondency, Amaranta disfigures her hand on a consuming coal. Then, Pilar Ternera reports that she is pregnant with Aureliano's youngster. These improvements all have a Rabelaisian shade of insane parody: love is intertwined with joke. The entirety of the characters here are animals of enthusiasm, and all apparently come up short on a social still, small voice. Then again, sexual craving appears to be terrifically significant. Aureliano Buendía, for example, has been conveying his longing for Pilar Ternera since earliest stages in the \"sacred backwater of his heart.\" Rebeca reassures herself over the deficiency of Pietro Crespi by eating small bunches of soil, leaving \"an unforgiving trailing sensation in her mouth and a dregs of harmony in her heart.\" This indispensable arousing quality is helped by curiously splendid pictures and a language that elevates our degrees of mindfulness. Toward the finish of Section 4, we see the downfall of the patriarch. José Arcadio Buendía goes frantic, frequented by the phantom of Prudencio Aguilar. This makes way for the development of the Colonel: José Arcadio I's child — Aureliano. Section 5-9 In some degree, misfortune is the destiny of all the Buendías. Aureliano weds Remedios, yet his satisfaction is stopped when she bites the dust after her unborn twins become wound in her belly. The patriarch gets decrepit. He currently \"sees\" Prudencio Aguilar so strikingly that the apparition turns into a genuine individual. Úrsula has her significant other attached to a tree. Dream encroaches so unequivocally on reality that the Buendías attempt fearlessly yet neglect to limit the patriarch's creative mind. This despairing new development is mitigated by sharp strict parody. Father Nicanor Reyna, the town's first minister, endeavors to demonstrate the presence of God to individuals of Macondo by drinking a cup of hot cocoa and afterward suspending. Pilar Ternera, a bizarre crystal gazer, brings forth Aureliano José; Macondo is a rich spot. What's more, the females are noted for their fruitfulness. Be that as it may, until José Arcadio II gets back from his abrupt visit, sexual direct appears to follow the ordinary examples of a humble community. José Arcadio II changes the entirety of that. He acquaints Macondo with a glaring indiscrimination, offering himself as a stud to the town's females. Segment 5 is a critical one. Here, the impact of the fear-based oppressor and clinical quack, Dr. Alirio Noguera, joins his desire for disruption with the political decision 238 CU IDOL SELF LEARNING MATERIAL (SLM)

misrepresentation of Mayor Moscote to trigger the defiant vocation of Colonel Aureliano Buendía. Starting here on, the novel reaches past being a simple scene of characters. The plot expands now into political imagery and man's destiny. Colonel Aureliano Buendía starts his wicked odyssey. Until now, he has been objective. However, the manipulated political race for the Conservatives makes him support the Liberal defiance. He has neither political nor military foundation; he essentially assigns himself as \"Colonel.\" Ostensibly, he battles to free the nation of the political debasement and imperialism of the Conservatives. However, his objective isn't totally magnanimous. He leaves Macondo to the oppressive standard of his sibling, the tremendous José Arcadio II. At last, the Colonel's vicious diversion prompts frustration and sceptical despondency. José Arcadio II tempts Rebeca. The pianola master subsequently loses Rebeca and is haughtily denied by Amaranta. Doubly squashed, he gets miserable and commits suicide. Along these lines, the forbidden ties of the Buendías again entrap another age. However, light-hearted element is rarely far away. A developing Arcadio (III) is as yet uninformed that Pilar Ternera is his mom, and, loaded up with a compelling fixation for her, he attempts to tempt her. We are blessed to receive a sham suggestive of Fielding's Tom Jones. There is the vaudeville activity of melodic beds. However, though Fielding's legend accepted that he had laid down with his mom, Arcadio (III) is cheated of this destiny. Pilar Ternera orchestrates to have Sofía de la Piedad meet the kid in the dimness of night all things being equal. Once more, all through these couplings, there is energy, yet infrequently love. Another inquisitive note is that the relations between the genders are missing of actual maltreatment. Plainly, the guys rule the Buendía family, yet their power is a dim, idle potential. They never show genuine actual mercilessness to the ladies. Male strength is underestimated, and the reason for it is only recommended. García Márquez leaves the methods for male position to our creative mind. The Colonel's military revolt proceeds as his bafflement and criticism develops. He at last reasons that the solitary distinction between the Liberals and the Conservatives is the various hours that every group goes to mass. More regrettable, he discovers that his chivalrous battle has essentially been another Latin American strategic manoeuvre. Actually, he has been battling the Conservatives just to see who will become caudillo — the country's \"greatest man\" or \"jefe,\" as numerous South American strongmen are called. His separation accepts over the top measurements, skirting on doubt, distrustfulness, and hallucinations of magnificence. As assurance from would-be professional killers, he dozes inside a (strict) chalk circle. His courageous mission in this way turns out to be irrationally tragic. A strange shot slaughters the Colonel's sibling, José Arcadio II. The homicide scene turns into the event for García Márquez to exhibit his incredible forces of expressive, phenomenal portrayal: A stream of blood came out under the entryway, crossed the lounge, went out into the road, proceeded in an orderly fashion across the lopsided patios, went down advances and moved 239 CU IDOL SELF LEARNING MATERIAL (SLM)

over controls, passed along the road of the Turks, turned a corner to one side and another to one side, made a privilege and another to one side, made a correct point at the Buendía house, went in under the shut entryway, gotten through the parlour, embracing the dividers so as not to smudge the mats, went on to the next parlour, made a wide bend to keep away from the lounge area table, came the yard with the begonias, and passed without being seen under Amaranta's seat as she gave a math exercise to Aureliano José; and went through the storeroom and turned out in the kitchen, where Úrsula [José Arcadio II's mother] was preparing to break 36 eggs to make bread. \"Blessed Mother of God!\" Úrsula yelled. Following José Arcadio II's passing, the patriarch himself bites the dust. However, the last's passing gives a striking combination of poignancy and comic, dark humour. Throughout the long term, the solitary individual whom the patriarch has had any contact with is the phantom of Prudencio Aguilar: \"They discussed battling cocks. They guaranteed each other to set up a reproducing ranch for brilliant birds, less to make the most of their triumphs which they would not need at that point, as to have something to do on the drawn-out Sundays of death.\" José Arcadio I's demise is prognosticated by Cataure, Visitación's sibling: \"I have come for the exequies of the lord.\" This unrealistic commemoration is trailed by astounding events. Yellow blossoms downpour from the sky, covering the town, and covering the creatures resting outside. This unfortunate end is soothed by the introduction of twins to Santa Sofía de la Piedad: José Arcadio IV Segundo and Aureliano Segundo embody a recovery of the Buendía male line. With the finish of the common conflict, Amaranta rejects the suit of the Colonel's dearest companion, Colonel Gerineldo Márquez. Her dismissal adds to the insignificance of the military battle, from numerous points of view representing the conflict's sterility. She blames Márquez for needing to wed her simply because he can't wed her sibling, the Colonel. She proclaims that she won't ever wed anybody. This somber scene of the Buendía decay is then momentarily excited by teases between youthful Aureliano José and his auntie Amaranta. Coordinated religion is then caricaturized when Father Nicanor's substitution, Father Coronel (\"The Pup\"), shows up. Also, in another twisting off the principle plot, seventeen ill- conceived children of the Colonel show up, individually, at the Buendía house. The youthful guys are of all tones and races, and each has a permanent \"look of isolation that left presumably concerning the relationship.\" The impact of these scenes is maddeningly funny. The story exaggeration uncovers deft hints of unexpected mind, and we discover a portion of the novel's best emotional minutes here. A big-hearted Conservative general takes over Macondo and becomes a close acquaintance with the Colonel. At the point when the Colonel retakes the town, he has the overall executed. Slaughtering this dictator yet exceptionally altruistic character causes a situation of drama 240 CU IDOL SELF LEARNING MATERIAL (SLM)

and resignation. Murder, all things considered, is murder, and this slaughtering is ridiculous. That occurrence flags the Colonel's own defilement into a genuine tyrant. Along these lines, we see unmistakably that force taints, and supreme force adulterates totally — a perception made by the political author Lord Acton, and, Lord Acton added, most incredible men are almost in every case terrible men. Force has held the Colonel, mutilating his optimism into a weak exaggeration of such honourable goals as equity and abstinence. All things considered, we see a dubious warlord, insatiable for power, progressively tainted by more vulnerable standards and having less and less doubts about utilizing power. For instance, he arranges his companion Gerineldo Márquez executed due to a trivial issue. Just Úrsula's mediation saves Márquez finally. In any case, that episode shows the Colonel as a character sentenced by his insufficiency to adore, or trust. His reality is a solitary one of possible opponents, where isolation, torment and frustration are normal out of each relationship — an existence where such grim torments of the soul are unavoidable outcomes. Eventually, the Colonel's destiny is drama, an existence of experiences covered by comicalness and bound with ludicrous vagueness. Subsequent to marking the Armistice Treaty of Neerlandia, which closes the common conflict in a Conservative triumph, he attempts to commit suicide. Prior, Pilar Ternera had encouraged him to keep an eye out for his mouth, so he points the firearm to his chest. Yet, the shot misses all his indispensable organs. At such unexpected minutes, the Colonel's life turns out to be more equivocal, overflowing, and absurd. One day he is reviled for giving up to the public authority. The following day, he is hailed as a saint and granted the Order of Merit, which he dismisses. But then, every one of the dangers that he has endure just appear to set him up for insensibility. He resigns to make and change softened down goldfish. His occupation is roundabout, dreary, repetition, and ridiculous; truth be told, his life comes to take after the plot that portrays his destiny. Section 10-12 The up-and-coming age of Buendías moves to the focal point of the activity. Aureliano Segundo and Fernanda del Carpio are hitched and have a child, José Arcadio V. Úrsula medical attendants the wild dream that the little fellow will some time or another become Pope. Her unbelievable impulse shows us an obvious lopsidedness between bogus expectations and sensible plans. Her desire to send the kid to Rome and, later, see him expect the papacy is a type of frenzy dependent on pride. Obviously, the Segundo twins have their own dreams. They reflect repetitive lives and mirror the destinies of the Colonel and his sibling José Arcadio II. As the last two siblings shared Pilar Ternera, so the Segundo twins lay down with Petra Cotes. \"A jaguar confronted lady,\" Petra Cotes is portrayed in the language of metaphor and overstated sexuality. In any case, she is more than just fruitful; her fruitfulness is mystical; and like Macondo's own regenerative forces, her richness needs pragmatic control. She is depicted as creating abundance simply by riding around Aureliano's 241 CU IDOL SELF LEARNING MATERIAL (SLM)

fields. Petra Cotes makes Aureliano affluent, throughout which she chafes his better half. So considerable is her abundance that Aureliano is decreased to outlandish chatter: \"Stop, cows, for life is short.\" The tone of high satire here marks García Márquez as a capable expert of dark humour. Furthermore, we see this disposition in the creator's treatment of Aureliano's better half. For all her magnificence, Fernanda del Carpio has peculiar assumptions. An excruciating egotist, she addresses the no nonsense, double-dealing environment of middle class shows and their unavoidable inconsistencies. She initially shows up as the interfering Queen of Madagascar. There is an idea (never demonstrated, nonetheless) that her entourage incorporates the warriors who complete the slaughter at Macondo's fair. Be that as it may, she, when all is said and done, must be safeguarded when the shooting begins. In this way, her complicity appears to be distant and is generally uncertain. During the slaughter, Aureliano Segundo takes her to wellbeing and falls head over heels in love for her. Fernanda's unwieldy good assumptions drive Aureliano back to Petra Cotes on numerous occasions. On the off chance that we may characterize dark humour here as a funny guilty pleasure in somebody's self-exacted imprudence, at that point Fernanda turns into the ideal vehicle for this sort of gaiety. She won't poop in anything besides a brilliant, peaked bedpan, and she is portrayed as experiencing a uterine issue yet is too unobtrusive to even consider seeing a specialist face to face. All things considered; she starts a long correspondence with an undetectable specialist who recommends a \"clairvoyant activity.\" At the designated time, she rests and nods off. At the point when she wakes, she has been sewed from her crotch to her sternum. Franticness and strange notion become joined. Fernanda appears to be recklessly determined bowed in driving her nobility into a bogus, damaging pride. In various unforeseen developments, we see the differentiating characters of the Segundo twins. While Aureliano is taken out, José Arcadio IV seems, by all accounts, to be separate with a vile sign. The last experiences end and brutishness at an early age; he is said to have ruled dull charm, and he familiarizes the town with its first water transportation — of an amazing sort: a log boat, pulled by thick ropes by twenty men, passing on a rich social affair of women is gotten through the wild. In this way, José Arcadio IV is dynamic, yet ghastly, however Aureliano is vigilant yet curious. As the novel spreads out, different sub-plots achieve their fortitude of effect. Sixteen of the Colonel's kids are totally executed one evening. They are found shot through the lasting crosses of pre-Lenten soot on their sanctuaries. Two of the youngsters were responsible for conveying the essential train to Macondo, a yellow train taking after a \"kitchen pulling a town behind it.\" The railroad lets loose Macondo to Yankee government. The train organization moreover conveys present day development with all its ability to wipe out \"where the limitations of reality lay.\" Macondo expects the rushing about of a blast town. Bruno Crespi, the sibling of the dead pianola master, Pietro Crespi, brings a film into Macondo, and it is met by mistrust. The 242 CU IDOL SELF LEARNING MATERIAL (SLM)

residents can't see how an entertainer bites the dust in one film and returns again in another. For the entirety of the humour and garbage, but profoundly inventive babble, going before this turn of events, be that as it may, we presently go into the novel's shocking, solemn stage. Two Yankees, Mr. Herbert and Mr. Jack Brown show up in Macondo to set up a banana organization. Macondo's set of experiences is currently introduced to us as a tremendous combination of all the financial indecencies that have tormented the southern side of the equator. Yet, the novel's tempered concerns are just from a representative perspective verifiable. There are no dates nor order. Dream, also, perplexes any genuine feeling of straight time. There is a convincing rationale to occasions that resists genuine sequence. For instance, it is \"just legitimate\" that the permanent crosses on the Colonel's children will foreordain their demises. In this way, the shortfall of an authentic straight stretch of time empowers the making of anecdotal reality — the will pass on perpetually similarly for every peruser. Satire is never absent in the fiction of García Márquez. As an example, Remedios the Beauty is described in terms that make her resemble the Virgin Mary. Her beauty is the stuff of legends. Yet she causes the bloody deaths of at least four men before she herself ascends to heaven in waving folds of Fernanda's \"Brabant sheets.\" Such details are exaggerated as much for scorn as for ironic effect. Section 13-14 Macondo succeeds with the ascent of the banana organization and expanded business. The Buendías sink into decay. Their family experiences expanding disturbance and estrangement the town. Úrsula loses her visual perception, however she chivalrously makes up for its misfortune with her uncanny memory and feeling of hearing. José Arcadio V is shipped off to a theological school in Rome. (Recall that Úrsula accepts that he can, and will, be Pope sometime in the not-so-distant future.) Aureliano Segundo moves in with Petra Cotes. A wanton realism swarms the remainder of the town; maybe it is best represented in the eating challenge between Aureliano Segundo and the brutal head of a school of voice, a lady called Camila Sagastume, \"The Elephant.\" The eating challenge fills in as a satire of machismo and furthermore to act as an illustration of incomparable incongruity since in an exertion not to lose a challenge to a lady, Aureliano nearly commits suicide by indulging and loses the challenge. Fernanda sends Meme away, attempting to hide Aureliano's undertaking with Petra Cotes from Meme. Yet, this solitary builds Fernanda's ethical distress instead of reducing her feeling of disgrace or misfortune. She capitulates to crazy self-duplicities and a singing wrath that goes on for two days. Isolation so plagues the existence of the Colonel now that he bites the dust, his temple pulled in the middle of his shoulders, similar to a child chick, inclining toward the chestnut tree that held old José Arcadio I, the Colonel's dad. Fernanda, similar to the Colonel, is an estranged animal: she endures the embarrassment of 243 CU IDOL SELF LEARNING MATERIAL (SLM)

betrayal, while the Colonel falls from the purposelessness of making and liquefying down goldfish. The Colonel's passing is regular of the novel's elective rhythms and states of mind. However, his demise is likewise the sign for a significant sham. Image gets back from live-in school joined by four nuns and her whole class of 68 young ladies. The Buendía family is tossed into disorder. Fernanda needs to arrange 72 bedpans to reduce the night-time clog in the restroom. The creator's metaphor is interspersed by sharp dramatization: when Amaranta is salting the soup, one of the nuns asks Amaranta what fixing she is adding to the soup, and she gets the answer: \"Arsenic.\" Subsequent to moving on from the cloister, Meme's schooling proceeds in the roads of Macondo, where in opposition to town bias, she gets to know Patricia Brown, the Yankee little girl of the banana organization proprietor. Patricia Brown opens to Meme a world shut to numerous Latin American ladies. García Márquez causes the Anglo young lady to represent the free, self-assured cosmopolite, particularly in her mentalities towards men. Image takes up these advanced, women's activist, Protestant qualities. She tosses attentiveness and class biases to the breeze and starts an issue with the specialist Mauricio Babilonia. Their contact has a dismal ramification for the Buendía faction. Misfortune is frequently saved from net wistfulness by the creator's abundant humour. At the point when it appears to be that the maturing Amaranta won't ever bite the dust, she is visited by Death and advised to start making her cover. Like the delegate of a last test of the year, Death (a lady, wearing blue, with long hair) trains her to take constantly she needs, to make the example as fine and as convoluted as she needs since she will kick the bucket when it is finished. She completes her cover, at that point declares that she \"is cruising at nightfall, conveying the mail of death.\" Such dark humour appears to manifest in the unlikeliest places. As another model, a watchman shoots Mauricio Babilonia attempting to move through the tiles and get into Meme's restroom. Rather than making his sexual meeting, be that as it may, the hapless specialist is injured and deadened starting from the waist. He passes on of mature age in isolation, alienated as a chicken criminal. No obvious trick escapes the creator's sarcastic vision of the exemplary love tryst. Humour and exaggeration loan emotional accentuation to ordinary occasions. What's more, the equivocal dramatic impact is additionally improved by oxymoronic phrases. In her issue with Mauricio Babilonia, for example, Meme is ensured by the \"guiltless complicity\" of her dad, Aureliano Segundo. This horseplay is additionally homed in depictions of sexual enthusiasm. A freezing Fernanda raises little Amaranta Úrsula, while relating with imperceptible specialists and conveying pessaries in her slips for her sexual throbs. Section 15 244 CU IDOL SELF LEARNING MATERIAL (SLM)

In trademark Buendía design, Meme's issue with Mauricio Babilonia prompts a kid. What's more, the contamination of Yankee advancement has carried with it a solid feeling of average outrage and disgrace. Fernanda takes the pregnant Meme off to a religious circle in Cracow. After the kid is conceived, the nuns in Cracow return him to the Buendía house. Fernanda is, obviously, enraged. The peruser may now anticipate that that Fernanda's intention should hide the youngster's causes would stop here. Be that as it may, García Márquez saturates his characters with a hyper, incapacitating pride. Untruths and legitimizations serve to make their situations just really engaging. Fernanda reveals to Santa Sofía de la Piedad that the kid was found in a bushel gliding among the bulrushes. This shocking falsehood is confiscated from the scriptural story of the disclosure of Moses. Be that as it may, Santa Sofía acknowledges it without reservation. The significant activity presently revolves around the strike at the banana organization. Disappointed laborers fight working conditions and low remuneration. Consistent with South American conditions, the specialists are progressives just as displeased pinions inside the framework. Aureliano Segundo and Colonel Lorenzo Gavilán lead the strikers. In different works of fiction, the present circumstance may be marked social-fight show, however the circumstance here accomplishes colossal account power and imagery in the language of García Márquez. The strike and slaughter are reviewed through the memory of a kid. In the language of the youngster storyteller, humour, dream, and farce underline the repulsions of Yankee misuse. The laborers are fighting genuine treacheries, however their maltreatment by the Yankee radicals has been conspicuous to such an extent that their circumstance appears to be practically outrageous. Preeminent, the specialists don't get compensation. They are paid in organization scrip, a money that will purchase just Virginia ham sold in organization grocery stores. There are no medical advantages for the specialists; all ailments or wounds are treated with copper sulphate pills that the town youngsters gather for bingo games. The organization from the start reacts to the strikers' requests with embarrassing concessions, however the reaction downplays the dissent targets. Restrooms, for example, are one of the requests; the organization consents to give them — yet just at Christmastime. At last, the plant proprietor \"vanishes\" under a fashioned demise authentication, and the courts confirm that the laborers are truly independently employed and along these lines don't, so to speak, \"exist.\" In this incongruity and misrepresentation, there is torment overstated to such an extent that it nearly loses any ability to influence the peruser's empathizing. In any case, the impact of the slaughter is merciless; the account is delivered in a language splendid with allegories and solid rhythms. José Arcadio IV Segundo recovers cognizance in the wake of being struck down during the slaughter. He ends up lying in the midst of thousands of bodies on a 200-vehicle train. However, when he gets back to Macondo, he is guaranteed by everybody that nothing has occurred. He is doubtful and resigns to the wanderer's (Melquíades') room. Damaged and frightened, he peruses Melquíades' compositions and ultimately loses his psyche; he sees the slaughter at last as a sort of dreamlike dream: \". . . the 245 CU IDOL SELF LEARNING MATERIAL (SLM)

frenzy turned into a winged serpent's tail . . . twirling about in a colossal hurricane that gradually was being diminished . . . remove all around like an onion being stripped by the voracious and orderly shears of the automatic weapons.\" Arcadio's capacity from that point on is to give information on the original copy to youthful Aureliano Babilonia. Gradually, José Arcadio IV Segundo disintegrates from outside see in the creepy climate of the room. Section 16-20 In reprisal for the compromising specialists' strike, Mr. Earthy colored, we are told, \"released a heavy downpour\" that goes on for a very long time, eleven months, and two days. Furthermore, the span of the tempest makes the Yankees determined, unreasonable, and wrathful. The downpours fill the salacious indulgent person Aureliano Segundo \"with the springy peacefulness of an absence of craving.\" To all expectations and purposes, the town and its occupants are \"peering over the slope of vulnerability.\" When the downpours stop, Macondo is in ruins. Úrsula slips into complete isolation; at this point she is just a toy for little Amaranta Úrsula and Aureliano Babilonia. The female authority starts to live in the inaccessible past, past infirmity, a silly animal for whom presence does not have all significance. Area 16 starts the novel's conclusion. José Arcadio V gets back from Rome, defrocked and in shame. Úrsula kicks the bucket of mature age. Her life has been a recognition for perseverance and industry. In any case, at her demise, she is a personification of her previous self, withered like a raisin. The hyper-twisted and prideful, smug Fernanda creates voodoo powers. Her envy takes care of lethal aims. Earlier, she could endure Aureliano's sexual betrayal, yet now his desire has gone to cherish — with Petra Cotes. For that disloyalty, she attempts to execute him by staying pins in his photo. She is fruitful, however not long before he kicks the bucket, Aureliano sends Amaranta Úrsula off to class in Brussels. So starts another sequential chance in the personality of Amaranta Úrsula. Aureliano's demise by voodoo, be that as it may, doesn't demonstrate the savage maniacal energy coordinated at him. The mercilessness of his passing is shown just when Santa Sofía slits the jugular of his cadaver: he is emblematically butchered. Here, we should review that García Márquez is notable for his energy of picking the emotional second to finish up a plot; consequently, as we review, the destiny of the twins is tied — so when Aureliano passes on, his sibling José Arcadio IV falls dead in Melquíades' room. The two of them fall casualties to the desolates of time. The speed of the story revives. Rebeca kicks the bucket, and the circle of characters fixes, in this way focusing now on the focal point of activity. There are numerous harbingers of desperate what might be on the horizon. Father Isabel professes to have seen a beast, portrayed as \"the Wandering Jew.\" And undoubtedly, a winged beast is gotten and slaughtered. At that point weird signs show up, depicted in the way of antiquated Aztec and Oriental records of introductions to cataclysmic events. The minister loses his brain; he is 246 CU IDOL SELF LEARNING MATERIAL (SLM)

supplanted by Father Angel after a whimsical record of chastity's inclination to prompt sexual insanity. Getting from his novella Leaf Storm, now, García Márquez offers the marvel of birds again — this time, blasting through windows during the noontime warmth and kicking the bucket inside houses. Iridescent orange plates go through the sky. It is like we are going to observe a tremor. Such peculiar events give an enchantment quality to the town's decrease and forecast the novel's unpropitious decision. Aureliano Babilonia takes up the investigation of the wanderer's compositions once more. In this errand, he satisfies the coherent assumptions produced toward the start of the novel. José Arcadio V (whom Úrsula had trusted would become Pope) from the start hates him and limits him to the examination. Yet, this brutal sentence just causes Aureliano to rise above the requirements of actual presence, and his disconnection constrains him to accept the force of his singular battle to disentangle the strange Sanskrit codes. Another plot loop is disentangled when the remainder of the Colonel's seventeen children arises. His appearance is another illustration of the creator's pitiless dark humour. The man is escaping from obscure professional killers and looks for asylum at the Buendías' home. The two men won't let the outlaw inside, and later he is killed similarly as his siblings — shot through the pale cross on his temple. The connection between José Arcadio V and Aureliano stays cool until Aureliano helps José Arcadio V during an asthma assault. We learn then something of José Arcadio V's depravities in Rome. His debasement had just been indicated before, however now we see the degree of his degeneracy. He connects with youngsters in daily bashes. His lustful nature discovers its punishment in the overabundances of his accomplices, and after one wild gathering, the youngsters suffocate him in his tub. It is one of the most entertaining, and generally ridiculous, scenes in the novel. A develop Amaranta Úrsula gets back to Macondo. She is hitched to a more established Flemish man of his word, Gaston, a foolish businessperson who possesses (and rides) an odd velocipede. The historical backdrop of the Buendía family arises as a maze inside the bedlam of history in these last parts. In a zoological massage parlour, Aureliano Babilonia meets Pilar Ternera, his incredible extraordinary grandma, presently a matured who botches him for the Colonel and uncovers the devastating subtleties of the adolescent's predecessors. Pilar Ternera, we understand, gets mindful of the finish of the last, fleeting plot. In this manner, she puts Aureliano in contact with his roots and gives a system to satisfying the assumptions produced in the principal part areas. Aureliano starts to attempt to unravel Melquíades' original copy decisively. His examination turns into a fixation, diminished simply by visits to the book shop of the shrewd old Catalonian, his gatherings with the four companions who be meets there, and his visits to the 247 CU IDOL SELF LEARNING MATERIAL (SLM)

dark wore, Nigromanta. His fixation on learning expects the energy of sexual enthusiasm, a dubious however incredible life-power. It is an energy that additionally discovers sexual articulation as enthusiasm for his auntie Amaranta. Gaston gives the double-crossing pair his favours, and they satisfy the old Buendía revile. Misfortune follows, and Aureliano loses both the youngster and Amaranta. The destiny of the youngster is particularly awful, yet we discover his end predetermined in the witticism of Melquíades: \"The first of the line is attached to a tree and the latter is being eaten by insects.\" As the last pages of the original copy are going to be uncovered, the single, residual room of the old Buendía house is loaded up with voices of the past. Melquíades' composition at that point expects the components of an analogy for the solidarity of time and spot: similarly, as Melquíades and Aureliano, as essayist, peruser, and interpreter, areconverted into one spooky voice, Macondo is cleared away in a tempest, So the awesome story closes at the time when pulverization annihilates the town, the Buendías, and the storyteller. 10.3 MAJOR THEMES The Theme of Solitude Nearly regardless, the Buendía guys are set apart, figuratively speaking, with the heart- breaking indication of isolation. Also, maybe this topic can best be perceived in the event that one examinations the individual characters themselves. As the most extraordinary individual from the subsequent age, for instance, Colonel Aureliano Buendía is an ideal illustration of isolation. We learn, for instance, that pre-adulthood made him quiet and single, however truth be told he was consistently a displaced person, in a manner of speaking, in isolation. As the primary individual brought into the world in Macondo, he is quickly distinguished as being hesitant to become anything — yet he is, and, after its all said and done, enormously thoughtful with the situation of his misfortunate society. From the exact instant of his being a living chance, we discover him to be a quiet and removed baby, \"sobbing\" in Úrsula's belly, sobbing like he were disheartened by the possibility of living (maybe once more). He is visionary and had of prophetic forces, however his extraordinary forces are befuddled by an inherently contorted passionate advancement that we realize just similar to an \"inadequacy for human love.\" This sad quality is likewise reflected in the existences of the twins, Aureliano and José Arcadio IV Segundo. In them, we understand the creator's unique meaning of isolation as being not just a condition of social seclusion but rather an uncommon sort of human relationship and, most importantly, a need. Aureliano Segundo, for example, is a warm admirer of blow-outs; he is additionally incredibly crazy. Unmistakably, his capers spring from a craving to break the unfaltering example of reiteration in his life. He lives among need and bounty, prudence and false reverence, and is constantly confounded about the condition of his mental apathy. In his disappointment, he feels a hypochondriac impulse to harp on 248 CU IDOL SELF LEARNING MATERIAL (SLM)

bitterness as a methods for feeling human. His sibling, José Arcadio IV Segundo, doesn't have that sort of self-indulgence and isn't wanton in fulfilling his hungers. All things considered, José Arcadio IV is sentenced to live separated from the other Buendías — regardless of what he does. Mentally, José Arcadio IV is consistently a more unusual; no one knows the slightest bit about his life. He is obsessive in his response against shamefulness; simultaneously, he appreciates the brutal game of cockfighting and enjoys a dreary reviewing a day when he saw human executions when he was just a youngster. He is a man without a passionate family, detained in miserable recollections of individuals' mistaking him for his sibling — however never, so it appears to him, having the option to evade sharing a typical destiny. Isolation for José Arcadio IV is a response to the dissatisfaction that he finds in his double nature and in his confounded personality. This disappointment is emblematic of the twins' relationship, for, despite the fact that they have grown diversely and have been formed by various conditions, and despite the fact that they have lost their actual similarity, they actually meet passing simultaneously — after a despairing, singular period; and, as though García Márquez needed to hone the unexpected element of the twins' relationship, he has every one of them covered in the other twin's grave. The twins seem to have been drawn together for the duration of their lives by a liking of pity, enthusiastic impermeability, and by some anonymous, incredible, mysterious power. Likewise, the connection between José Arcadio V and his nephew, Aureliano Babilonia, has a miserable, Faulknerian cast, loaded up with the brutality and love-disdain intricacy of two ages of Bonds (a family in Faulkner's Absalom, Absalom!). José Arcadio V, showing up home from Rome, detects an opponent for Fernanda's domain in the individual of the gentle, delicate Aureliano. The strain fixes, yet after Aureliano saves José Arcadio V's life, they make a sort of ceasefire. There is a sort of shared resistance between the two men, however there is no genuine love; it is, truth be told, a relationship of convenience, not a completely human relationship, one characterized by empathy, but instead one of mechanical activity and response. Likewise, with the twins, we see that here again isolation turns out to be even a \"power of propensity\" between two individuals. Unmistakably, in García Márquez' see, isolation is unavoidable; in its excess, social adjustment ruins the passionate strength of even the nearest of familial connections. Every one of the significant characters in 100 Hundred Years of Solitude end in that exceptional type of social misery, stale under a melancholic deception that makes them unmindful of the spell of their social and mental confinement. The Subjectivity of Experienced Reality Albeit the authenticity and the enchantment that One Hundred Years of Solitude incorporates appear from the outset to be alternate extremes, they are, indeed, entirely reconcilable. Both are important to pass on Márquez's specific origination of the world. Márquez's tale reflects reality not as it is capable by one onlooker, but rather as it is exclusively capable by those with various foundations. These different points of view are particularly suitable to the 249 CU IDOL SELF LEARNING MATERIAL (SLM)

special truth of Latin America—got among innovation and pre-industrialization; torn by common conflict and assaulted by colonialism—where the encounters of individuals fluctuate considerably more than they may in a more homogenous society. Mystical authenticity passes on a reality that consolidates the sorcery that notion and religion imbue into the world. This tale treats scriptural accounts and local Latin American folklore as truly valid. This methodology may originate from the sense, shared by some Latin American creators, that significant and incredible strains of wizardry going through conventional lives succumb to the Western accentuation on rationale and reason. On the off chance that García Márquez appears to befuddle reality and fiction, it is simply because, from certain viewpoints, fiction might be more genuine than the real world, and the other way around. For example, in places like Márquez's old neighbourhood, which saw a slaughter similar as that of the laborers in Macondo, unfathomable revulsions might be a typical sight. Reality, at that point, starts to appear to be a dream that is both unnerving and entrancing, and Márquez's tale is an endeavour to reproduce and to catch that feeling of reality. The Inseparability of Past, Present, and Future From the names that return age after age to the reiteration of characters and occasions, time in One Hundred Years of Solitude won't partition flawlessly into past, present, and future. Úrsula Iguarán is consistently quick to see that time in Macondo isn't limited, in any case, rather, pushes ahead again and again. Here and there, this concurrence of time prompts amnesia, when individuals can't see the past anything else than they can see what's to come. Different occasions the future becomes as simple to review as the past. The predictions of Melquíades demonstrate that occasions in time are consistent: from the start of the novel, the old wanderer had the option to see its end, as though the different occasions were all happening on the double. Likewise, the presence of the apparitions of Melquíades and José Arcadio Buendía shows that the past in which those men lived has gotten one with the present. The Power of Reading and of Language Despite the fact that language is in an unripe, Garden-of-Eden state toward the start of One Hundred Years of Solitude, when most things in the infant world are as yet anonymous, its capacity rapidly turns out to be more mind boggling. Different dialects fill the novel, including the Guajiro language that the kids learn, the multilingual tattoos that cover José Arcadio's body, the Latin verbally expressed by José Arcadio Buendía, and the last Sanskrit interpretation of Melquíades' predictions. Truth be told, this last venture of interpretation can be viewed as the main demonstration in the book, since it is by all accounts the one that makes the book's presence conceivable and offers life to the characters and story inside. As García Márquez makes perusing the last prophetically calamitous power that annihilates Macondo and points out his own errand as an author, he additionally advises us that our 250 CU IDOL SELF LEARNING MATERIAL (SLM)