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<span>Plot</span> </div> </a> <ul id="toc-Plot-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Symbolism_and_metaphors" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Symbolism_and_metaphors"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Symbolism and metaphors</span> </div> </a> <ul id="toc-Symbolism_and_metaphors-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Characters" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Characters"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Characters</span> </div> </a> <button aria-controls="toc-Characters-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Characters subsection</span> </button> <ul id="toc-Characters-sublist" class="vector-toc-list"> <li id="toc-First_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#First_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>First generation</span> </div> </a> <ul id="toc-First_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Second_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Second_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>Second generation</span> </div> </a> <ul id="toc-Second_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Third_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Third_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Third generation</span> </div> </a> <ul id="toc-Third_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fourth_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fourth_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.4</span> <span>Fourth generation</span> </div> </a> <ul id="toc-Fourth_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fifth_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fifth_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.5</span> <span>Fifth generation</span> </div> </a> <ul id="toc-Fifth_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sixth_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sixth_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6</span> <span>Sixth generation</span> </div> </a> <ul id="toc-Sixth_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Seventh_generation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Seventh_generation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.7</span> <span>Seventh generation</span> </div> </a> <ul id="toc-Seventh_generation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Others" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Others"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.8</span> <span>Others</span> </div> </a> <ul id="toc-Others-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Major_themes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Major_themes"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Major themes</span> </div> </a> <button aria-controls="toc-Major_themes-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Major themes subsection</span> </button> <ul id="toc-Major_themes-sublist" class="vector-toc-list"> <li id="toc-Subjectivity_of_reality_and_magic_realism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Subjectivity_of_reality_and_magic_realism"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Subjectivity of reality and magic realism</span> </div> </a> <ul id="toc-Subjectivity_of_reality_and_magic_realism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Solitude" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Solitude"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>Solitude</span> </div> </a> <ul id="toc-Solitude-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fluidity_of_time" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fluidity_of_time"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3</span> <span>Fluidity of time</span> </div> </a> <ul id="toc-Fluidity_of_time-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Incest" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Incest"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.4</span> <span>Incest</span> </div> </a> <ul id="toc-Incest-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Elitism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Elitism"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.5</span> <span>Elitism</span> </div> </a> <ul id="toc-Elitism-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Interpretation" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Interpretation"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Interpretation</span> </div> </a> <button aria-controls="toc-Interpretation-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Interpretation subsection</span> </button> <ul id="toc-Interpretation-sublist" class="vector-toc-list"> <li id="toc-Literary_significance_and_acclaim" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Literary_significance_and_acclaim"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.1</span> <span>Literary significance and acclaim</span> </div> </a> <ul id="toc-Literary_significance_and_acclaim-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Relation_to_Colombian_history" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Relation_to_Colombian_history"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2</span> <span>Relation to Colombian history</span> </div> </a> <ul id="toc-Relation_to_Colombian_history-sublist" class="vector-toc-list"> <li id="toc-Inclusion_of_the_Roma_("Gypsies")" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Inclusion_of_the_Roma_("Gypsies")"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.1</span> <span>Inclusion of the Roma ("Gypsies")</span> </div> </a> <ul id="toc-Inclusion_of_the_Roma_("Gypsies")-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Depiction_of_the_Thousand_Days_War" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Depiction_of_the_Thousand_Days_War"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.2</span> <span>Depiction of the Thousand Days War</span> </div> </a> <ul id="toc-Depiction_of_the_Thousand_Days_War-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Representation_of_the_"Banana_Massacre"" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Representation_of_the_"Banana_Massacre""> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.3</span> <span>Representation of the "Banana Massacre"</span> </div> </a> <ul id="toc-Representation_of_the_"Banana_Massacre"-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Internal_references" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Internal_references"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Internal references</span> </div> </a> <ul id="toc-Internal_references-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Adaptations" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Adaptations"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Adaptations</span> </div> </a> <ul id="toc-Adaptations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">11</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">12</span> <span>External links</span> </div> </a> <button aria-controls="toc-External_links-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle External links subsection</span> </button> <ul id="toc-External_links-sublist" class="vector-toc-list"> <li id="toc-Reading_curriculum" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Reading_curriculum"> <div class="vector-toc-text"> <span class="vector-toc-numb">12.1</span> <span>Reading curriculum</span> </div> </a> <ul id="toc-Reading_curriculum-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Lectures_and_recordings" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Lectures_and_recordings"> <div class="vector-toc-text"> <span class="vector-toc-numb">12.2</span> <span>Lectures and recordings</span> </div> </a> <ul id="toc-Lectures_and_recordings-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><i>One Hundred Years of Solitude</i></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 78 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-78" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">78 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Afrikaans" lang="af" hreflang="af" data-title="Cien años de soledad" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%85%D8%A6%D8%A9_%D8%B9%D8%A7%D9%85_%D9%85%D9%86_%D8%A7%D9%84%D8%B9%D8%B2%D9%84%D8%A9" title="مئة عام من العزلة – Arabic" lang="ar" hreflang="ar" data-title="مئة عام من العزلة" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Asturian" lang="ast" hreflang="ast" data-title="Cien años de soledad" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Y%C3%BCz_ilin_t%C9%99nhal%C4%B1%C4%9F%C4%B1" title="Yüz ilin tənhalığı – Azerbaijani" lang="az" hreflang="az" data-title="Yüz ilin tənhalığı" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%DB%8C%D9%88%D8%B2_%D8%A7%DB%8C%D9%84%D9%84%DB%8C%DA%A9_%DB%8C%D8%A7%D9%84%D9%86%DB%8C%D8%B2%D9%84%DB%8C%D9%82" title="یوز ایللیک یالنیزلیق – South Azerbaijani" lang="azb" hreflang="azb" data-title="یوز ایللیک یالنیزلیق" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target"><span>تۆرکجه</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%A1%D1%82%D0%BE_%D0%B3%D0%B0%D0%B4%D0%BE%D1%9E_%D0%B0%D0%B4%D0%B7%D1%96%D0%BD%D0%BE%D1%82%D1%8B" title="Сто гадоў адзіноты – Belarusian" lang="be" hreflang="be" data-title="Сто гадоў адзіноты" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%A1%D1%82%D0%BE_%D0%B3%D0%B0%D0%B4%D0%BE%D1%9E_%D0%B0%D0%B4%D0%B7%D1%96%D0%BD%D0%BE%D1%82%D1%8B" title="Сто гадоў адзіноты – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Сто гадоў адзіноты" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target"><span>Беларуская (тарашкевіца)</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A1%D1%82%D0%BE_%D0%B3%D0%BE%D0%B4%D0%B8%D0%BD%D0%B8_%D1%81%D0%B0%D0%BC%D0%BE%D1%82%D0%B0" title="Сто години самота – Bulgarian" lang="bg" hreflang="bg" data-title="Сто години самота" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Sto_godina_samo%C4%87e" title="Sto godina samoće – Bosnian" lang="bs" hreflang="bs" data-title="Sto godina samoće" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target"><span>Bosanski</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Cent_anys_de_solitud" title="Cent anys de solitud – Catalan" lang="ca" hreflang="ca" data-title="Cent anys de solitud" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Sto_rok%C5%AF_samoty" title="Sto roků samoty – Czech" lang="cs" hreflang="cs" data-title="Sto roků samoty" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Hundrede_%C3%A5rs_ensomhed" title="Hundrede års ensomhed – Danish" lang="da" hreflang="da" data-title="Hundrede års ensomhed" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Hundert_Jahre_Einsamkeit" title="Hundert Jahre Einsamkeit – German" lang="de" hreflang="de" data-title="Hundert Jahre Einsamkeit" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Sada_aastat_%C3%BCksildust" title="Sada aastat üksildust – Estonian" lang="et" hreflang="et" data-title="Sada aastat üksildust" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%95%CE%BA%CE%B1%CF%84%CF%8C_%CE%A7%CF%81%CF%8C%CE%BD%CE%B9%CE%B1_%CE%9C%CE%BF%CE%BD%CE%B1%CE%BE%CE%B9%CE%AC" title="Εκατό Χρόνια Μοναξιά – Greek" lang="el" hreflang="el" data-title="Εκατό Χρόνια Μοναξιά" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Spanish" lang="es" hreflang="es" data-title="Cien años de soledad" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Cent_jaroj_da_soleco" title="Cent jaroj da soleco – Esperanto" lang="eo" hreflang="eo" data-title="Cent jaroj da soleco" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Basque" lang="eu" hreflang="eu" data-title="Cien años de soledad" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B5%D8%AF_%D8%B3%D8%A7%D9%84_%D8%AA%D9%86%D9%87%D8%A7%DB%8C%DB%8C" title="صد سال تنهایی – Persian" lang="fa" hreflang="fa" data-title="صد سال تنهایی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Cent_Ans_de_solitude" title="Cent Ans de solitude – French" lang="fr" hreflang="fr" data-title="Cent Ans de solitude" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gd mw-list-item"><a href="https://gd.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Scottish Gaelic" lang="gd" hreflang="gd" data-title="Cien años de soledad" data-language-autonym="Gàidhlig" data-language-local-name="Scottish Gaelic" class="interlanguage-link-target"><span>Gàidhlig</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Galician" lang="gl" hreflang="gl" data-title="Cien años de soledad" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%B0%B1%EB%85%84_%EB%8F%99%EC%95%88%EC%9D%98_%EA%B3%A0%EB%8F%85" title="백년 동안의 고독 – Korean" lang="ko" hreflang="ko" data-title="백년 동안의 고독" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%80%D5%A1%D6%80%D5%B5%D5%B8%D6%82%D6%80_%D5%BF%D5%A1%D6%80%D5%BE%D5%A1_%D5%B4%D5%A5%D5%B6%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Հարյուր տարվա մենություն – Armenian" lang="hy" hreflang="hy" data-title="Հարյուր տարվա մենություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%8F%E0%A4%95%E0%A4%BE%E0%A4%82%E0%A4%A4_%E0%A4%95%E0%A5%87_%E0%A4%B8%E0%A5%8C_%E0%A4%B5%E0%A4%B0%E0%A5%8D%E0%A4%B7" title="एकांत के सौ वर्ष – Hindi" lang="hi" hreflang="hi" data-title="एकांत के सौ वर्ष" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target"><span>हिन्दी</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Sto_godina_samo%C4%87e" title="Sto godina samoće – Croatian" lang="hr" hreflang="hr" data-title="Sto godina samoće" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Seratus_Tahun_Kesunyian" title="Seratus Tahun Kesunyian – Indonesian" lang="id" hreflang="id" data-title="Seratus Tahun Kesunyian" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Hundra%C3%B0_%C3%A1ra_einsemd" title="Hundrað ára einsemd – Icelandic" lang="is" hreflang="is" data-title="Hundrað ára einsemd" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target"><span>Íslenska</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Cent%27anni_di_solitudine" title="Cent'anni di solitudine – Italian" lang="it" hreflang="it" data-title="Cent'anni di solitudine" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%90%D7%94_%D7%A9%D7%A0%D7%99%D7%9D_%D7%A9%D7%9C_%D7%91%D7%93%D7%99%D7%93%D7%95%D7%AA" title="מאה שנים של בדידות – Hebrew" lang="he" hreflang="he" data-title="מאה שנים של בדידות" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-jv mw-list-item"><a href="https://jv.wikipedia.org/wiki/One_Hundred_Years_of_Solitude" title="One Hundred Years of Solitude – Javanese" lang="jv" hreflang="jv" data-title="One Hundred Years of Solitude" data-language-autonym="Jawa" data-language-local-name="Javanese" class="interlanguage-link-target"><span>Jawa</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%9B%E1%83%90%E1%83%A0%E1%83%A2%E1%83%9D%E1%83%9D%E1%83%91%E1%83%98%E1%83%A1_%E1%83%90%E1%83%A1%E1%83%98_%E1%83%AC%E1%83%94%E1%83%9A%E1%83%98%E1%83%AC%E1%83%90%E1%83%93%E1%83%98" title="მარტოობის ასი წელიწადი – Georgian" lang="ka" hreflang="ka" data-title="მარტოობის ასი წელიწადი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%96%D2%AF%D0%B7_%D0%B6%D1%8B%D0%BB%D0%B4%D1%8B%D2%9B_%D0%B6%D0%B0%D0%BB%D2%93%D1%8B%D0%B7%D0%B4%D1%8B%D2%9B" title="Жүз жылдық жалғыздық – Kazakh" lang="kk" hreflang="kk" data-title="Жүз жылдық жалғыздық" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-avk mw-list-item"><a href="https://avk.wikipedia.org/wiki/Decemdafa_antiuca_(suterot)" title="Decemdafa antiuca (suterot) – Kotava" lang="avk" hreflang="avk" data-title="Decemdafa antiuca (suterot)" data-language-autonym="Kotava" data-language-local-name="Kotava" class="interlanguage-link-target"><span>Kotava</span></a></li><li class="interlanguage-link interwiki-ku mw-list-item"><a href="https://ku.wikipedia.org/wiki/Sed_sal_tenyay%C3%AE_(pirt%C3%BBk)" title="Sed sal tenyayî (pirtûk) – Kurdish" lang="ku" hreflang="ku" data-title="Sed sal tenyayî (pirtûk)" data-language-autonym="Kurdî" data-language-local-name="Kurdish" class="interlanguage-link-target"><span>Kurdî</span></a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%96%D2%AF%D0%B7_%D0%B6%D1%8B%D0%BB%D0%B4%D1%8B%D0%BA_%D0%B6%D0%B0%D0%BB%D0%B3%D1%8B%D0%B7%D0%B4%D1%8B%D0%BA" title="Жүз жылдык жалгыздык – Kyrgyz" lang="ky" hreflang="ky" data-title="Жүз жылдык жалгыздык" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target"><span>Кыргызча</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Latin" lang="la" hreflang="la" data-title="Cien años de soledad" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Simts_vientul%C4%ABbas_gadu" title="Simts vientulības gadu – Latvian" lang="lv" hreflang="lv" data-title="Simts vientulības gadu" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target"><span>Latviešu</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/%C5%A0imtas_met%C5%B3_vienatv%C4%97s" title="Šimtas metų vienatvės – Lithuanian" lang="lt" hreflang="lt" data-title="Šimtas metų vienatvės" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Sz%C3%A1z_%C3%A9v_mag%C3%A1ny" title="Száz év magány – Hungarian" lang="hu" hreflang="hu" data-title="Száz év magány" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A1%D1%82%D0%BE_%D0%B3%D0%BE%D0%B4%D0%B8%D0%BD%D0%B8_%D1%81%D0%B0%D0%BC%D0%BE%D1%82%D0%B8%D1%98%D0%B0" title="Сто години самотија – Macedonian" lang="mk" hreflang="mk" data-title="Сто години самотија" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%8F%E0%B4%95%E0%B4%BE%E0%B4%A8%E0%B5%8D%E0%B4%A4%E0%B4%A4%E0%B4%AF%E0%B5%81%E0%B4%9F%E0%B5%86_%E0%B4%A8%E0%B5%82%E0%B4%B1%E0%B5%8D_%E0%B4%B5%E0%B5%BC%E0%B4%B7%E0%B4%99%E0%B5%8D%E0%B4%99%E0%B5%BE" title="ഏകാന്തതയുടെ നൂറ് വർഷങ്ങൾ – Malayalam" lang="ml" hreflang="ml" data-title="ഏകാന്തതയുടെ നൂറ് വർഷങ്ങൾ" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target"><span>മലയാളം</span></a></li><li class="interlanguage-link interwiki-xmf mw-list-item"><a href="https://xmf.wikipedia.org/wiki/%E1%83%AE%E1%83%95%E1%83%90%E1%83%9A%E1%83%90%E1%83%AE%E1%83%9D%E1%83%91%E1%83%90%E1%83%A8_%E1%83%9D%E1%83%A8%E1%83%98_%E1%83%AC%E1%83%90%E1%83%9C%E1%83%9B%E1%83%9D%E1%83%AC%E1%83%90%E1%83%9C%E1%83%90" title="ხვალახობაშ ოში წანმოწანა – Mingrelian" lang="xmf" hreflang="xmf" data-title="ხვალახობაშ ოში წანმოწანა" data-language-autonym="მარგალური" data-language-local-name="Mingrelian" class="interlanguage-link-target"><span>მარგალური</span></a></li><li class="interlanguage-link interwiki-mzn mw-list-item"><a href="https://mzn.wikipedia.org/wiki/%D8%B5%D8%AF_%D8%B3%D8%A7%D9%84_%D8%AA%DB%8C%D9%86%D8%A7%D8%B1%DB%8C" title="صد سال تیناری – Mazanderani" lang="mzn" hreflang="mzn" data-title="صد سال تیناری" data-language-autonym="مازِرونی" data-language-local-name="Mazanderani" class="interlanguage-link-target"><span>مازِرونی</span></a></li><li class="interlanguage-link interwiki-mn mw-list-item"><a href="https://mn.wikipedia.org/wiki/%D0%97%D1%83%D1%83%D0%BD_%D0%B6%D0%B8%D0%BB%D0%B8%D0%B9%D0%BD_%D0%B3%D0%B0%D0%BD%D1%86%D0%B0%D0%B0%D1%80%D0%B4%D0%B0%D0%BB" title="Зуун жилийн ганцаардал – Mongolian" lang="mn" hreflang="mn" data-title="Зуун жилийн ганцаардал" data-language-autonym="Монгол" data-language-local-name="Mongolian" class="interlanguage-link-target"><span>Монгол</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Honderd_jaar_eenzaamheid" title="Honderd jaar eenzaamheid – Dutch" lang="nl" hreflang="nl" data-title="Honderd jaar eenzaamheid" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E7%99%BE%E5%B9%B4%E3%81%AE%E5%AD%A4%E7%8B%AC" title="百年の孤独 – Japanese" lang="ja" hreflang="ja" data-title="百年の孤独" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Hundre_%C3%A5rs_ensomhet" title="Hundre års ensomhet – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Hundre års ensomhet" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Hundre_%C3%A5rs_ensomhet" title="Hundre års ensomhet – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Hundre års ensomhet" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Cent_ans_de_soletat" title="Cent ans de soletat – Occitan" lang="oc" hreflang="oc" data-title="Cent ans de soletat" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Yolg%CA%BBizlikning_yuz_yili" title="Yolgʻizlikning yuz yili – Uzbek" lang="uz" hreflang="uz" data-title="Yolgʻizlikning yuz yili" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%B8%E0%A9%8C_%E0%A8%B8%E0%A8%BE%E0%A8%B2_%E0%A8%A6%E0%A8%BE_%E0%A8%87%E0%A8%95%E0%A8%B2%E0%A8%BE%E0%A8%AA%E0%A8%BE" title="ਸੌ ਸਾਲ ਦਾ ਇਕਲਾਪਾ – Punjabi" lang="pa" hreflang="pa" data-title="ਸੌ ਸਾਲ ਦਾ ਇਕਲਾਪਾ" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target"><span>ਪੰਜਾਬੀ</span></a></li><li class="interlanguage-link interwiki-pnb mw-list-item"><a href="https://pnb.wikipedia.org/wiki/%D8%A7%DA%A9%D9%84%D8%A7%D9%BE%DB%92_%D8%AF%DB%92_%D8%B3%D9%88_%D8%B3%D8%A7%D9%84" title="اکلاپے دے سو سال – Western Punjabi" lang="pnb" hreflang="pnb" data-title="اکلاپے دے سو سال" data-language-autonym="پنجابی" data-language-local-name="Western Punjabi" class="interlanguage-link-target"><span>پنجابی</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Sto_lat_samotno%C5%9Bci" title="Sto lat samotności – Polish" lang="pl" hreflang="pl" data-title="Sto lat samotności" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Cem_Anos_de_Solid%C3%A3o" title="Cem Anos de Solidão – Portuguese" lang="pt" hreflang="pt" data-title="Cem Anos de Solidão" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Un_veac_de_singur%C4%83tate" title="Un veac de singurătate – Romanian" lang="ro" hreflang="ro" data-title="Un veac de singurătate" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-qu mw-list-item"><a href="https://qu.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Quechua" lang="qu" hreflang="qu" data-title="Cien años de soledad" data-language-autonym="Runa Simi" data-language-local-name="Quechua" class="interlanguage-link-target"><span>Runa Simi</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A1%D1%82%D0%BE_%D0%BB%D0%B5%D1%82_%D0%BE%D0%B4%D0%B8%D0%BD%D0%BE%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B0" title="Сто лет одиночества – Russian" lang="ru" hreflang="ru" data-title="Сто лет одиночества" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sc badge-Q17437796 badge-featuredarticle mw-list-item" title="featured article badge"><a href="https://sc.wikipedia.org/wiki/Cien_a%C3%B1os_de_soledad" title="Cien años de soledad – Sardinian" lang="sc" hreflang="sc" data-title="Cien años de soledad" data-language-autonym="Sardu" data-language-local-name="Sardinian" class="interlanguage-link-target"><span>Sardu</span></a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Nj%C3%ABqind_vjet_vetmi" title="Njëqind vjet vetmi – Albanian" lang="sq" hreflang="sq" data-title="Njëqind vjet vetmi" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target"><span>Shqip</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/One_Hundred_Years_of_Solitude" title="One Hundred Years of Solitude – Simple English" lang="en-simple" hreflang="en-simple" data-title="One Hundred Years of Solitude" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sd mw-list-item"><a href="https://sd.wikipedia.org/wiki/%D8%A7%DA%AA%D9%8A%D9%84%D8%A7%D8%A6%D9%8A_%D8%AC%D8%A7_%DA%BE%DA%AA_%D8%B3%D8%A4_%D8%B3%D8%A7%D9%84" title="اڪيلائي جا ھڪ سؤ سال – Sindhi" lang="sd" hreflang="sd" data-title="اڪيلائي جا ھڪ سؤ سال" data-language-autonym="سنڌي" data-language-local-name="Sindhi" class="interlanguage-link-target"><span>سنڌي</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Sto_rokov_samoty" title="Sto rokov samoty – Slovak" lang="sk" hreflang="sk" data-title="Sto rokov samoty" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a 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.infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vcard"><caption class="infobox-title" style="font-size:125%; font-style:italic; padding-bottom:0.2em;">One Hundred Years of Solitude <span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=One+Hundred+Years+of+Solitude&rft.author=%5B%5BGabriel+Garc%C3%ADa+M%C3%A1rquez%5D%5D&rft.date=1967&rft.pub=Editorial+Sudamericana&rft.place=Argentina&rft.pages=422&rft_id=info:oclcnum/17522865"></span></caption><tbody><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Cien_a%C3%B1os_de_soledad_(book_cover,_1967).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/a/a0/Cien_a%C3%B1os_de_soledad_%28book_cover%2C_1967%29.jpg/220px-Cien_a%C3%B1os_de_soledad_%28book_cover%2C_1967%29.jpg" decoding="async" width="220" height="312" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/a/a0/Cien_a%C3%B1os_de_soledad_%28book_cover%2C_1967%29.jpg 1.5x" data-file-width="265" data-file-height="376" /></a></span><div class="infobox-caption">First edition</div></td></tr><tr><th scope="row" class="infobox-label">Author</th><td class="infobox-data"><a href="/wiki/Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Gabriel García Márquez">Gabriel García Márquez</a></td></tr><tr><th scope="row" class="infobox-label">Original title</th><td class="infobox-data"><i>Cien años de soledad</i></td></tr><tr><th scope="row" class="infobox-label">Translator</th><td class="infobox-data"><a href="/wiki/Gregory_Rabassa" title="Gregory Rabassa">Gregory Rabassa</a></td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data"><a href="/wiki/Spanish_language" title="Spanish language">Spanish</a></td></tr><tr><th scope="row" class="infobox-label">Genre</th><td class="infobox-data"><a href="/wiki/Magic_realism" class="mw-redirect" title="Magic realism">Magic realism</a></td></tr><tr><th scope="row" class="infobox-label">Publisher</th><td class="infobox-data">Editorial Sudamericana, <style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style><div class="plainlist"> <ul><li><a href="/wiki/Harper_%26_Row" class="mw-redirect" title="Harper & Row">Harper & Row</a> (US)</li> <li><a href="/wiki/Jonathan_Cape" title="Jonathan Cape">Jonathan Cape</a> (UK)</li></ul> </div></td></tr><tr><th scope="row" class="infobox-label"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Publication date</div></th><td class="infobox-data">1967</td></tr><tr><th scope="row" class="infobox-label">Publication place</th><td class="infobox-data">Argentina</td></tr><tr><th scope="row" class="infobox-label"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Published in English</div></th><td class="infobox-data">1970</td></tr><tr><th scope="row" class="infobox-label">Pages</th><td class="infobox-data">422</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)"><abbr title="Online Computer Library Center number">OCLC</abbr></a></th><td class="infobox-data"><a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/17522865">17522865</a></td></tr></tbody></table> <p><i><b>One Hundred Years of Solitude</b></i> (<a href="/wiki/Spanish_language" title="Spanish language">Spanish</a>: <i lang="es">Cien años de soledad</i>, <style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style><span class="IPA-label IPA-label-small">Latin American Spanish:</span> <span class="IPA nowrap" lang="es-419-Latn-fonipa"><a href="/wiki/Help:IPA/Spanish" title="Help:IPA/Spanish">[sjen<span class="wrap"> </span>ˈaɲos<span class="wrap"> </span>ðe<span class="wrap"> </span>soleˈðað]</a></span>) is a <a href="/wiki/1967_in_literature" title="1967 in literature">1967</a> <a href="/wiki/Novel" title="Novel">novel</a> by <a href="/wiki/Colombian_people" class="mw-redirect" title="Colombian people">Colombian</a> author <a href="/wiki/Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Gabriel García Márquez">Gabriel García Márquez</a> that tells the <a href="/wiki/Family_saga" title="Family saga">multi-generational story</a> of the Buendía family, whose patriarch, José Arcadio Buendía, founded the fictitious town of <a href="/wiki/Macondo" title="Macondo">Macondo</a>. The novel is often cited as one of the supreme achievements in <a href="/wiki/World_literature" title="World literature">world literature</a>.<sup id="cite_ref-oedb.org_1-0" class="reference"><a href="#cite_note-oedb.org-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-telegraph.co.uk_3-0" class="reference"><a href="#cite_note-telegraph.co.uk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> It was recognized as one of the most important works of the Spanish language during the 4th <a href="/wiki/International_Conference_of_the_Spanish_Language" title="International Conference of the Spanish Language">International Conference of the Spanish Language</a> held in <a href="/wiki/Cartagena,_Colombia" title="Cartagena, Colombia">Cartagena</a> in March 2007.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/Magic_Realism" class="mw-redirect" title="Magic Realism">magical realist</a> style and thematic substance of <i>One Hundred Years of Solitude</i> established it as an important representative novel of the literary <a href="/wiki/Latin_American_Boom" title="Latin American Boom">Latin American Boom</a> of the 1960s and 1970s,<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> which was <a href="/wiki/Style_(fiction)" class="mw-redirect" title="Style (fiction)">stylistically</a> influenced by <a href="/wiki/Modernism" title="Modernism">Modernism</a> (European and North American) and the Cuban <a href="/wiki/Cuban_art#Vanguardia_artists" title="Cuban art"><i>Vanguardia</i></a> (Avant-Garde) literary movement. </p><p>Since it was first published in May 1967 in <a href="/wiki/Buenos_Aires" title="Buenos Aires">Buenos Aires</a> by Editorial Sudamericana, <i>One Hundred Years of Solitude</i> has been translated into 46 languages and sold more than 50 million copies.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Bell_10-0" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-PSinsights_11-0" class="reference"><a href="#cite_note-PSinsights-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The novel, considered García Márquez's <i><a href="/wiki/Masterpiece" title="Masterpiece">magnum opus</a></i>, remains widely acclaimed and is recognized as one of the most significant works both in the <a href="/wiki/Hispanic_literature" class="mw-redirect" title="Hispanic literature">Hispanic literary canon</a><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> and in world literature.<sup id="cite_ref-oedb.org_1-1" class="reference"><a href="#cite_note-oedb.org-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-telegraph.co.uk_3-1" class="reference"><a href="#cite_note-telegraph.co.uk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Biography_and_publication">Biography and publication</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=1" title="Edit section: Biography and publication"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1965, <a href="/wiki/Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Gabriel García Márquez">Gabriel García Márquez</a> was driving to <a href="/wiki/Acapulco" title="Acapulco">Acapulco</a> for a vacation with his family when he thought of the beginning for a new book; he then turned his car around, asked his wife to manage the family's finances for the coming months, and drove back home to Colombia. For the next eighteen months, García Márquez spent his time writing what would eventually become <i>One Hundred Years of Solitude</i>. Though inspired by Colombian history and his experiences as a journalist, García Márquez was greatly influenced by his maternal grandparents: Nicolás Ricardo Márquez and Doña Tranquilina Iguarán Cotes. A decorated veteran of the <a href="/wiki/Thousand_Days%27_War" title="Thousand Days' War">Thousand Days' War</a>, Ricardo Márquez's accounts of the rebellion against the conservative Colombian government led his grandson to a <a href="/wiki/Socialism" title="Socialism">socialist</a> outlook. Meanwhile, Doña Iguarán Cotes' superstitious beliefs became the foundation of <i>One Hundred Years of Solitude'</i>s style. The couple's house in <a href="/wiki/Aracataca" title="Aracataca">Aracataca</a> where García Márquez spent his childhood inspired him to make his book's setting of Macondo.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>García Márquez was one of the four <a href="/wiki/Latin_America" title="Latin America">Latin American</a> novelists first included in the literary <a href="/wiki/Latin_American_Boom" title="Latin American Boom">Latin American Boom</a> of the 1960s and 1970s; the other three were the Peruvian <a href="/wiki/Mario_Vargas_Llosa" title="Mario Vargas Llosa">Mario Vargas Llosa</a>, the Argentine <a href="/wiki/Julio_Cort%C3%A1zar" title="Julio Cortázar">Julio Cortázar</a>, and the Mexican <a href="/wiki/Carlos_Fuentes" title="Carlos Fuentes">Carlos Fuentes</a>. <i>One Hundred Years of Solitude</i> (1967) earned García Márquez international fame as a novelist of the <a href="/wiki/Magical_realism" title="Magical realism">magical realism</a> movement within Latin American literature.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Plot">Plot</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=2" title="Edit section: Plot"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>One Hundred Years of Solitude</i> is the story of seven generations of the Buendía Family in the town of <a href="/wiki/Macondo" title="Macondo">Macondo</a>. The founders of Macondo, José Arcadio Buendía and Úrsula Iguarán, leave their hometown after José Arcadio kills Prudencio Aguilar after a <a href="/wiki/Cockfight" class="mw-redirect" title="Cockfight">cockfight</a> for suggesting José Arcadio was <a href="/wiki/Erectile_dysfunction" title="Erectile dysfunction">impotent</a>.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> One night of their emigration journey, while camping on a riverbank, José Arcadio dreams of "Macondo", a city of mirrors that reflected the world in and about it. Upon awakening, he decides to establish Macondo at the riverside; after days of wandering the jungle, his founding of Macondo is <a href="/wiki/Utopia" title="Utopia">utopic</a>.<sup id="cite_ref-Bell_10-1" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>José Arcadio Buendía believes Macondo to be surrounded by water, and from that island, he invents the world according to <i>his</i> perceptions.<sup id="cite_ref-Bell_10-2" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Soon after its founding, Macondo became a town frequented by <a href="/wiki/Magic_realism" class="mw-redirect" title="Magic realism">unusual and extraordinary events</a> that involve the generations of the Buendía family, who are unable or unwilling to escape their periodic (mostly self-inflicted) misfortunes. For years the town has been solitary and unconnected to the outside world, with the exception of the annual visit of a band of <a href="/wiki/Gypsies" class="mw-redirect" title="Gypsies">Gypsies</a>, who show the townspeople scientific discoveries such as <a href="/wiki/Magnet" title="Magnet">magnets</a>, <a href="/wiki/Telescope" title="Telescope">telescopes</a>, and <a href="/wiki/Ice" title="Ice">ice</a>. The leader of the Gypsies, a man named Melquíades, maintains a close friendship with José Arcadio, who becomes increasingly withdrawn, obsessed with investigating the mysteries of the universe presented to him by the Gypsies. Ultimately, he is driven insane, speaking only in <a href="/wiki/Latin" title="Latin">Latin</a>, and is tied to a <a href="/wiki/Chestnut_tree" class="mw-redirect" title="Chestnut tree">chestnut tree</a> by his family for many years until his death. </p><p>Eventually Macondo becomes exposed to the outside world and the government of newly independent Colombia. A rigged election between the <a href="/wiki/Colombian_Conservative_Party" title="Colombian Conservative Party">Conservative</a> and <a href="/wiki/Colombian_Liberal_Party" title="Colombian Liberal Party">Liberal</a> parties is held in town, inspiring Aureliano Buendía to join a <a href="/wiki/Civil_war" title="Civil war">civil war</a> against the Conservative government. He becomes an iconic revolutionary leader, fighting for many years and surviving multiple attempts on his life, but ultimately tires of war and signs a peace treaty with the Conservatives. Disillusioned, he returns to Macondo and spends the rest of his life making tiny gold fish in his workshop. </p><p>The <a href="/wiki/Railroad" class="mw-redirect" title="Railroad">railroad</a> comes to Macondo, bringing in new technology and many foreign settlers. An American fruit company establishes a banana plantation outside the town, and builds its own segregated village across the river. This ushers in a period of prosperity that ends in tragedy as the Colombian army massacres thousands of striking plantation workers, an incident based on the <a href="/wiki/Banana_Massacre" title="Banana Massacre">Banana Massacre</a> of 1928. José Arcadio Segundo, the only survivor of the massacre, finds no evidence of the massacre, and the surviving townspeople deny or refuse to believe it happened. </p><p>By the novel's end, Macondo has fallen into a decrepit and near-abandoned state, with the only remaining Buendías being Amaranta Úrsula and her nephew Aureliano, whose parentage is hidden by his grandmother Fernanda, and he and Amaranta Úrsula unknowingly begin an incestuous relationship. They have a child who bears the tail of a pig, fulfilling the lifelong fear of the long-dead matriarch Úrsula. Amaranta Úrsula dies in childbirth and the child is devoured by ants, leaving Aureliano as the last member of the family. He decodes an encryption Melquíades had left behind in a manuscript generations ago. The secret message informs the recipient of every fortune and misfortune that the Buendía family's generations lived through. As Aureliano reads the manuscript, he feels a windstorm starting around him, and he reads in the document that the Buendía family is doomed to be wiped from the face of the Earth because of it. In the last sentence of the book, the narrator describes Aureliano reading this last line just as the entire town of Macondo is scoured from existence.<sup id="cite_ref-Wood_16-0" class="reference"><a href="#cite_note-Wood-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Symbolism_and_metaphors">Symbolism and metaphors</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=3" title="Edit section: Symbolism and metaphors"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A dominant theme in <i>One Hundred Years of Solitude</i> is the inevitable and inescapable repetition of history in Macondo. The protagonists are controlled by their pasts and the complexity of time. Throughout the novel the characters are visited by ghosts. "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history", writes Daniel Erickson. "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions."<sup id="cite_ref-Erickson_17-0" class="reference"><a href="#cite_note-Erickson-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>The fate of Macondo is both doomed and predetermined from its very existence. "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities. The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create."<sup id="cite_ref-Erickson_17-1" class="reference"><a href="#cite_note-Erickson-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>García Márquez uses colours as symbols. Yellow and gold are the most frequently used and symbolize imperialism and the Spanish <a href="/wiki/Siglo_de_Oro" class="mw-redirect" title="Siglo de Oro">Siglo de Oro</a>. Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>The glass city is an image that comes to José Arcadio Buendía in a dream. It is the reason for Macondo's location, but also a symbol of its fate. Higgins writes, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history."<sup id="cite_ref-Bell_10-3" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is therefore fated for destruction.<sup id="cite_ref-Erickson_17-2" class="reference"><a href="#cite_note-Erickson-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>There is an underlying pattern of Latin American history in <i>One Hundred Years of Solitude</i>. It has been said that the novel is one of a number of texts that "Latin American culture has created to understand itself."<sup id="cite_ref-Gonzalez_Echevarria_p._358-80_19-0" class="reference"><a href="#cite_note-Gonzalez_Echevarria_p._358-80-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> In this sense, the novel can be conceived as a linear archive that narrates the story of a Latin America discovered by European explorers, which had its historical entity developed by the printing press. The Archive is a symbol of the literature that is the foundation of Latin American history and also a decoding instrument. Melquíades, the keeper of the archive, represents both the whimsical and the literary.<sup id="cite_ref-Gonzalez_Echevarria_p._358-80_19-1" class="reference"><a href="#cite_note-Gonzalez_Echevarria_p._358-80-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Finally, "the world of <i>One Hundred Years of Solitude</i> is a place where beliefs and metaphors become forms of fact, and where more ordinary facts become uncertain."<sup id="cite_ref-Wood_16-1" class="reference"><a href="#cite_note-Wood-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>The use of particular historic events and characters renders <i>One Hundred Years of Solitude</i> an exemplary work of <a href="/wiki/Magical_realism" title="Magical realism">magical realism</a>, wherein the novel compresses decades of cause and effect whilst telling an interesting story.<sup id="cite_ref-McMurray,_George_1969_pp._175-181_20-0" class="reference"><a href="#cite_note-McMurray,_George_1969_pp._175-181-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Characters">Characters</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=4" title="Edit section: Characters"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/19/One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg/660px-One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg.png" decoding="async" width="660" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/19/One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg/990px-One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/19/One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg/1320px-One_Hundred_Years_Of_Solitude_Buendia%27s_Family_Tree.svg.png 2x" data-file-width="3970" data-file-height="1760" /></a><figcaption>The Buendía family tree</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="First_generation">First generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=5" title="Edit section: First generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>José Arcadio Buendía</b></dt></dl> <p>José Arcadio Buendía is the <a href="/wiki/Patriarchy" title="Patriarchy">patriarch</a> of the Buendía family and the founder of Macondo.<sup id="cite_ref-Gordo_21-0" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Buendía leaves his hometown in <a href="/wiki/Riohacha_Municipality" title="Riohacha Municipality">Riohacha Municipality</a>, Colombia, along with his wife Úrsula Iguarán after being haunted by the corpse of Prudencio Aguilar (a man Buendía killed in a duel), who constantly bleeds from his wound and tries to wash it.<sup id="cite_ref-Gordo_21-1" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> One night while camping at the side of a river, Buendía dreams of a city of mirrors named Macondo and decides to establish the town in this location. José Arcadio Buendía is an introspective and inquisitive man of massive strength and energy who spends more time on his scientific pursuits than with his family. He flirts with alchemy and astronomy and becomes increasingly withdrawn from his family and community. He eventually goes insane and is tied to a chestnut tree until his death. </p> <dl><dt><b>Úrsula Iguarán</b></dt></dl> <p>Úrsula Iguarán is the matriarch of the Buendía family and is wife and cousin to José Arcadio Buendía.<sup id="cite_ref-Gordo_21-2" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She lives to be well over 100 years old and she oversees the Buendía household through six of the seven generations documented in the novel. She has a business of making candy animals and pastries which she continues until the arrival of Fernanda. She exhibits a very strong character and often succeeds where the men of her family fail, for example finding a route to the outside world from Macondo. She deeply fears her family resuming their incestuous practices as her inbred relatives tended to have animalistic features. From a strong and active matriarch, Úrsula is reduced to a plaything for Amaranta Úrsula and Aureliano in her last years and shrinks to the size of a newborn baby when she finally dies. </p> <div class="mw-heading mw-heading3"><h3 id="Second_generation">Second generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=6" title="Edit section: Second generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>José Arcadio</b></dt></dl> <p>José Arcadio Buendía and Úrsula's firstborn child, José Arcadio seems to have inherited his father's headstrong, impulsive mannerisms.<sup id="cite_ref-Gordo_21-3" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He eventually leaves the family after being molested by Pilar Ternera to chase a Gypsy girl and unexpectedly returns many years later as an enormous man covered in tattoos, claiming that he has sailed the seas of the world. He marries his adopted sister Rebeca, causing his banishment from the mansion, and he dies from a mysterious gunshot wound, days after saving his brother from execution. </p> <dl><dt><b>Colonel Aureliano Buendía</b></dt></dl> <p>José Arcadio Buendía and Úrsula's second child and the first person to be born in Macondo.<sup id="cite_ref-Gordo_21-4" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He was thought to have premonitions because everything he said came true.<sup id="cite_ref-Gordo_21-5" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He represents not only a warrior figure but also an artist due to his ability to write poetry and create finely crafted golden fish. During the wars he fathered 17 sons by unknown women,<sup id="cite_ref-Gordo_21-6" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> all named Aureliano. Four of them later begin to live in Macondo, and in the span of several weeks all of them but one (including those who chose not to remain in Macondo) are murdered by unknown assassins, before any of them had reached thirty-five years of age. </p> <dl><dt><b>Amaranta</b></dt></dl> <p>José Arcadio Buendía and Úrsula's third child, Amaranta grows up as a companion of her adopted sister Rebeca.<sup id="cite_ref-Gordo_21-7" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> However, her feelings toward Rebeca turn sour over Pietro Crespi, whom both sisters intensely desired in their teenage years. Amaranta does everything she can to prevent Rebeca and Pietro marrying, even attempting to murder Rebeca. Amaranta dies a lonely and virginal <a href="/wiki/Spinster" title="Spinster">spinster</a>, but comfortable in her existence after having finally accepted what she had become.<sup id="cite_ref-Gordo_21-8" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>In her later years, she becomes a caring figure within the Buendía household, particularly showing affection for her nephew, Aureliano José.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <dl><dt><b>Remedios Moscote</b></dt></dl> <p>Remedios was the youngest daughter of the town's Conservative administrator, Don Apolinar Moscote.<sup id="cite_ref-Gordo_21-9" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Her most striking physical features are her beautiful skin and her emerald-green eyes. The future Colonel Aureliano falls in love with her, despite her extreme youth. She dies shortly after the marriage from a blood poisoning illness during her pregnancy. Until soon before the Colonel's death, her dolls are displayed in his bedroom. </p> <dl><dt><b>Rebeca</b></dt></dl> <p>Rebeca is the second cousin of Úrsula Iguarán and the orphaned child of Nicanor Ulloa and Rebeca Montiel.<sup id="cite_ref-Gordo_21-10" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> At first, she is extremely timid, refuses to speak, and has the habits of eating earth and whitewash from the walls of the house, a condition known as <a href="/wiki/Pica_(disorder)" title="Pica (disorder)">pica</a>. She arrives carrying a canvas bag containing her parents' bones and seems not to understand or speak Spanish. However, she responds to questions asked by Visitación and Cataure in the Guajiro or <a href="/wiki/Wayuu_language" title="Wayuu language">Wayuu language</a>. She falls in love with and marries her adoptive brother José Arcadio after his return from traveling the world. After his mysterious and untimely death, she lives in seclusion for the rest of her life. </p> <dl><dt><b>Pilar Ternera</b></dt></dl> <p>Pilar is a local woman who moved to Macondo to escape the man who raped her as a teenager. She sleeps with the brothers Aureliano and José Arcadio.<sup id="cite_ref-Gordo_21-11" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She becomes the mother of their sons, Aureliano José and Arcadio respectively.<sup id="cite_ref-Gordo_21-12" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Pilar reads the future with cards, and every so often makes an accurate, though vague, prediction.<sup id="cite_ref-Gordo_21-13" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She has close ties with the Buendías throughout the whole novel, helping them with her card predictions. She dies some time after she turns 145 years old (she had eventually stopped counting),<sup id="cite_ref-Gordo_21-14" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> surviving until the last days of Macondo. </p><p>She plays an integral part in the plot as she is the link between the second and the third generations of the Buendía family. The author highlights her importance by following her death with a declaratory "it was the end."<sup id="cite_ref-Gordo_21-15" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Third_generation">Third generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=7" title="Edit section: Third generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>Arcadio</b></dt></dl> <p>Arcadio is José Arcadio's illegitimate son with Pilar Ternera, although he never learns about his origins.<sup id="cite_ref-Gordo_21-16" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He is a schoolteacher who assumes leadership of Macondo after Colonel Aureliano Buendía leaves.<sup id="cite_ref-Gordo_21-17" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He becomes a tyrannical dictator and uses his schoolchildren as his personal army and Macondo soon becomes subject to his whims. When the Liberal forces in Macondo fall, Arcadio is shot by a Conservative firing squad.<sup id="cite_ref-Gordo_21-18" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <dl><dt><b>Aureliano José</b></dt></dl> <p>Aureliano José is Colonel Aureliano Buendía's illegitimate son with Pilar Ternera.<sup id="cite_ref-Gordo_21-19" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He joins his father in several wars before deserting to return to Macondo upon hearing that it is possible to marry one's aunt. Aureliano José is obsessed with his aunt, Amaranta, who raised him since birth and molested him as a child, and who rejects the marriage proposal he makes as an adult. He is eventually shot to death by a Conservative captain midway through the wars.<sup id="cite_ref-Gordo_21-20" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <dl><dt><b>Santa Sofía de la Piedad</b></dt></dl> <p>Santa Sofía is a beautiful virgin girl and the daughter of a shopkeeper.<sup id="cite_ref-Gordo_21-21" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She is hired by Pilar Ternera to have sex with her son Arcadio, her eventual husband.<sup id="cite_ref-Gordo_21-22" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She is taken in along with her children by the Buendías after Arcadio's execution. After Úrsula's death she leaves unexpectedly, not knowing her destination. </p> <dl><dt><b>17 Aurelianos</b></dt></dl> <p>During his 32 civil war campaigns, Colonel Aureliano Buendía has 17 sons by 17 different women, each named after their father.<sup id="cite_ref-Gordo_21-23" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Four of these Aurelianos (A. Triste, A. Serrador, A. Arcaya and A. Centeno) stay in Macondo and become a permanent part of the family. Eventually, as revenge against the Colonel, all are assassinated by unknown assailants, who identified them by the mysteriously permanent <a href="/wiki/Ash_Wednesday" title="Ash Wednesday">Ash Wednesday</a> cross on their foreheads. The only survivor of the massacre is A. Amador, who escapes into the jungle only to be assassinated at the doorstep of his father's house many years later. </p> <div class="mw-heading mw-heading3"><h3 id="Fourth_generation">Fourth generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=8" title="Edit section: Fourth generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><span class="anchor" id="Remedios-the-Beauty"></span><b>Remedios the Beauty</b><br />Remedios the Beauty is Arcadio and Santa Sofía's first child.<sup id="cite_ref-Gordo_21-24" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> It is said she is the most beautiful woman ever seen in Macondo, and unintentionally causes the deaths of several men who love or lust over her.<sup id="cite_ref-Gordo_21-25" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She appears to most of the town as naively innocent, and some come to think that she is mentally delayed. However, Colonel Aureliano Buendía believes she has inherited great lucidity: "It is as if she's come back from twenty years of war," he said. She rejects clothing and beauty which has the opposite effect and makes her more beautiful. Too beautiful and, arguably, too wise for the world, Remedios ascends to heaven one afternoon, while folding Fernanda's white sheet. </p> <dl><dt><b>José Arcadio Segundo</b></dt></dl> <p>José Arcadio Segundo is Aureliano Segundo's twin brother, and one of Arcadio and Santa Sofía's three children.<sup id="cite_ref-Gordo_21-26" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Úrsula believes that the two were switched in their childhood, as José Arcadio begins to show the characteristics of the family's Aurelianos, growing up to be pensive and quiet. He plays a major role in the banana worker strike, and is the only survivor when the company massacres the striking workers.<sup id="cite_ref-Gordo_21-27" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Afterward, he spends the rest of his days studying the parchments of Melquíades, and tutoring the young Aureliano. He dies at the exact instant that his twin does.<sup id="cite_ref-Gordo_21-28" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <dl><dt><b>Aureliano Segundo</b></dt></dl> <p>Aureliano Segundo is José Arcadio Segundo's twin brother, and one of Arcadio and Santa Sofía's three children. Of the two brothers, Aureliano Segundo is the more boisterous and impulsive, much like the José Arcadios of the family.<sup id="cite_ref-Gordo_21-29" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He takes his first girlfriend Petra Cotes as his mistress during his marriage to the beautiful and bitter Fernanda del Carpio.<sup id="cite_ref-Gordo_21-30" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> When living with Petra, his livestock propagate wildly, and he indulges in unrestrained revelry. After the long rains, his fortune dries up, and the Buendías are left almost penniless. He turns to a search for a buried treasure, which nearly drives him to insanity. He dies of an unknown throat illness at the same moment as his twin. During the confusion at the funeral, the bodies are switched, and each is buried in the other's grave (highlighting Úrsula's earlier comment that they had been switched at birth). </p><p><span class="anchor" id="Fernanda-del-Carpio"></span><b>Fernanda del Carpio</b><br />Fernanda comes from a ruined, aristocratic family that kept her isolated from the world.<sup id="cite_ref-Gordo_21-31" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She was chosen as the most beautiful of 5,000 girls. She is brought to Macondo to compete with Remedios the Beauty for the title of Queen of the local carnival; however, her appearance turns the carnival into a bloody confrontation. After the fiasco, she marries Aureliano Segundo, who despite this maintains a domestic relation with his concubine, Petra Cotes. Nevertheless, she soon takes the leadership of the family away from the now frail Úrsula. She manages the Buendía affairs with an iron fist. She has three children by Aureliano Segundo: José Arcadio; Renata Remedios, a.k.a. Meme; and Amaranta Úrsula. She remains in the house after her husband dies, taking care of the household until her death. </p><p>Fernanda is never accepted by anyone in the Buendía household for they regard her as an outsider, although none of the Buendías rebel against her inflexible conservatism. Her mental and emotional instability is revealed through her paranoia, her correspondence with the "<a href="/wiki/Psychic_surgery" title="Psychic surgery">invisible doctors</a>", and her irrational behavior towards Meme's son Aureliano, whom she tries to isolate from the world. </p> <dl><dt><b>Petra Cotes</b></dt></dl> <p>Petra is a dark-skinned mulatto woman with gold-brown eyes similar to those of a panther. She is Aureliano Segundo's mistress and the love of his life. She arrives in Macondo as a teenager with her first husband. After her husband dies, she begins a relationship with José Arcadio Segundo. When she meets Aureliano Segundo, she begins a relationship with him as well, not knowing they are two different men. After José Arcadio decides to leave her, Aureliano Segundo gets her forgiveness and remains by her side. He continues to see her, even after his marriage. He eventually lives with her, which greatly embitters his wife, Fernanda del Carpio. When Aureliano and Petra make love, their animals reproduce at an amazing rate, but their livestock is wiped out during the four years of rain. Petra makes money by keeping the lottery alive and provides food baskets for Fernanda and her family after the death of Aureliano Segundo. </p> <div class="mw-heading mw-heading3"><h3 id="Fifth_generation">Fifth generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=9" title="Edit section: Fifth generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>José Arcadio</b></dt></dl> <p>José Arcadio, named after his ancestors in the Buendía tradition, is Aureliano Segundo and Fernanda's oldest child and follows the trend of previous Arcadios.<sup id="cite_ref-Gordo_21-32" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He is raised by Úrsula, who intends for him to become Pope. After Fernanda's death, he returns from Rome without having become a priest. He spends his days pining for Amaranta, the object of his obsession. Eventually, he discovers the treasure Úrsula had buried under her bed, which he wastes on lavish parties and escapades with adolescent boys. Later, he begins a tentative friendship with Aureliano Babilonia, his nephew. José Arcadio plans to set Aureliano up in a business and return to Rome, but is murdered in his bath by four of the adolescent boys who ransack his house and steal his gold. </p> <dl><dt><b>Renata Remedios (a.k.a. Meme)</b></dt></dl> <p>Renata Remedios, or Meme, is Aureliano Segundo and Fernanda's second child and first daughter.<sup id="cite_ref-Gordo_21-33" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> While she doesn't inherit Fernanda's beauty, she does have Aureliano Segundo's love of life and natural charisma. After her mother declares that she is to do nothing but play the <a href="/wiki/Clavichord" title="Clavichord">clavichord</a>, she is sent to school where she receives her performance degree as well as academic recognition. While she pursues the clavichord with "an inflexible discipline" to placate Fernanda, she also enjoys partying and exhibits the same tendency towards excess as her father. </p><p>Meme meets and falls in love with Mauricio Babilonia, but when Fernanda discovers their affair, she arranges for Mauricio to be shot, claiming that he was a chicken thief. She then takes Meme to a convent. Meme remains mute for the rest of her life, partially because of the trauma, but also as a sign of rebellion. Several months after arriving at the convent, she gives birth to a son, Aureliano. He is sent to live with the Buendías. Aureliano arrives in a basket and Fernanda is tempted to kill the child in order to avoid shame, but instead claims he is an orphan in order to cover up her daughter's promiscuity and is forced to "tolerate him against her will for the rest of her life because at the moment of truth she lacked the courage to go through with her inner determination to drown him". </p> <dl><dt><b>Amaranta Úrsula</b></dt></dl> <p>Amaranta Úrsula is Aureliano Segundo and Fernanda's third child.<sup id="cite_ref-Gordo_21-34" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She displays the same characteristics as her namesake who dies when she is only a child.<sup id="cite_ref-Gordo_21-35" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> She never knows that the child sent to the Buendía home is her nephew, the illegitimate son of Meme. He becomes her best friend in childhood. She returns home from Europe with an older husband, Gastón, who leaves her when she informs him of her passionate affair with Aureliano. She dies of a <a href="/wiki/Hemorrhage" class="mw-redirect" title="Hemorrhage">hemorrhage</a> after she has given birth to the last of the Buendía line.<sup id="cite_ref-Gordo_21-36" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <dl><dt><b>Mauricio Babilonia</b></dt></dl> <p>Mauricio is a brutally honest, generous and handsome mechanic for the banana company.<sup id="cite_ref-Gordo_21-37" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He is said to be a descendant of the Gypsies who visit Macondo in the early days. He has the unusual characteristic of being constantly swarmed by yellow butterflies, which follow even his lover for a time. Mauricio begins a romantic affair with Meme until Fernanda discovers them and tries to end it. When Mauricio continues to sneak into the house to see her, Fernanda has him shot, claiming he is a chicken thief. Paralyzed and bedridden, he spends the rest of his long life in solitude. </p> <dl><dt><b>Gastón</b></dt></dl> <p>Gastón is Amaranta Úrsula's wealthy, Belgian husband. She marries him in Europe and returns to Macondo leading him on a silk leash. Gastón is about fifteen years older than his wife. He is an aviator and an adventurer. When he moves with Amaranta Ursula to Macondo he thinks it is only a matter of time before she realizes that her European ways are out of place, causing her to want to move back to Europe. However, when he realizes his wife intends to stay in Macondo, he arranges for his airplane to be shipped over so he can start an airmail service. The plane is shipped to Africa by mistake. When he travels there to claim it, Amaranta writes to him of her love for Aureliano Babilonia Buendía. Gastón takes the news in stride, only asking that they ship him his <a href="/wiki/Velocipede" title="Velocipede">velocipede</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Sixth_generation">Sixth generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=10" title="Edit section: Sixth generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>Aureliano Babilonia (Aureliano II)</b></dt></dl> <p>Aureliano Babilonia, or Aureliano II, is Meme's illegitimate child with Mauricio Babilonia. He is hidden from everyone by his grandmother, Fernanda. He is strikingly similar to his namesake, the Colonel, and has the same character patterns as well. He is taciturn, silent, and emotionally charged. He barely knows Úrsula, who dies during his childhood. He is a friend of José Arcadio Segundo, who explains to him the true story of the banana worker massacre. </p><p>While other members of the family leave and return, Aureliano stays in the Buendía home. He only ventures into the empty town after the death of Fernanda. He works to decipher the parchments of Melquíades but stops to have an affair with his childhood partner and the love of his life, Amaranta Úrsula, not knowing that she is his aunt. When both she and her child die, he is able to decipher the parchments. "...Melquíades' final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of man's time and space: 'The first in line is tied to a tree and the last is being eaten by ants'." It is assumed he dies in the great wind that destroys Macondo the moment he finishes reading Melquíades' parchments. </p><p>With his death, the Buendía line ends. </p> <div class="mw-heading mw-heading3"><h3 id="Seventh_generation">Seventh generation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=11" title="Edit section: Seventh generation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>Aureliano</b></dt></dl> <p>Aureliano is the child of Aureliano and his aunt, Amaranta Úrsula.<sup id="cite_ref-Gordo_21-38" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He is born with a pig's tail, as the eldest and long dead Úrsula had always feared would happen (the parents of the child had never heard of the omen).<sup id="cite_ref-Gordo_21-39" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> His mother dies after giving birth to him, and, due to his grief-stricken father's negligence, he is devoured by ants.<sup id="cite_ref-Gordo_21-40" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Others">Others</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=12" title="Edit section: Others"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt><b>Melquíades</b></dt></dl> <p>Melquíades is one of a band of Gypsies who visit Macondo every year in March, displaying amazing items from around the world.<sup id="cite_ref-Gordo_21-41" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Melquíades sells José Arcadio Buendía several new inventions including a pair of <a href="/wiki/Magnets" class="mw-redirect" title="Magnets">magnets</a> and an <a href="/wiki/Alchemy" title="Alchemy">alchemist</a>'s lab. Later, the Gypsies report that Melquíades died in <a href="/wiki/Singapore" title="Singapore">Singapore</a>, but he, nonetheless, returns to live with the Buendía family,<sup id="cite_ref-Gordo_21-42" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> stating he could not bear the solitude of death. He stays with the Buendías and begins to write the mysterious parchments, which are eventually translated by Aureliano Babilonia, and prophesy the House of Buendía's end. Melquíades dies a second time from drowning in the river near Macondo and, following a grand ceremony organized by the Buendías, is the first individual buried in Macondo. His name echoes <a href="/wiki/Melchizedek" title="Melchizedek">Melchizedek</a> in the Old Testament, whose source of authority as a high priest was mysterious. </p> <dl><dt><b>Pietro Crespi</b></dt></dl> <p>Pietro is a very handsome and polite Italian musician who runs a music school.<sup id="cite_ref-Gordo_21-43" class="reference"><a href="#cite_note-Gordo-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> He installs the <a href="/wiki/Pianola" class="mw-redirect" title="Pianola">pianola</a> in the Buendía house. He becomes engaged to Rebeca, but Amaranta, who also loves him, manages to delay the wedding for years. When José Arcadio and Rebeca agree to be married, Pietro begins to woo Amaranta, who is so embittered that she cruelly rejects him. Despondent over the loss of both sisters, he kills himself. </p> <dl><dt><b>Mr. Herbert</b> and <b>Mr. Brown</b></dt></dl> <p>Mr. Herbert is a <a href="/wiki/Gringo" title="Gringo">gringo</a> who shows up at the Buendía house for lunch one day. After tasting the local bananas for the first time, he arranges for a banana company to set up a plantation in Macondo. The plantation is run by the dictatorial Jack Brown. When José Arcadio Segundo helps arrange a workers' strike on the plantation, the company traps the more than three thousand strikers and machine guns them down in the town square. The banana company and the government completely cover up the event. José Arcadio is the only one who remembers the slaughter. The company arranges for the army to kill off any resistance, then leaves Macondo for good. The event is likely based on the <a href="/wiki/Banana_massacre" class="mw-redirect" title="Banana massacre">Banana massacre</a> that took place in <a href="/wiki/Ci%C3%A9naga,_Magdalena" title="Ciénaga, Magdalena">Ciénaga, Magdalena</a> in 1928. </p> <dl><dt><b>Colonel Gerineldo Márquez</b></dt></dl> <p>He is the friend and comrade-in-arms of Colonel Aureliano Buendía. He fruitlessly woos Amaranta. </p> <dl><dt><b>Gabriel (Márquez)</b></dt></dl> <p>Gabriel is only a minor character in the novel but he has the distinction of bearing almost the same name as the author. He is the great-great-grandson of Colonel Gerineldo Márquez. He and Aureliano Babilonia are close friends because they know the history of the town, which no one else believes. He leaves for Paris after winning a contest and decides to stay there, selling old newspapers and empty bottles. He is one of the few who is able to leave Macondo before the town is wiped out entirely. </p> <div class="mw-heading mw-heading2"><h2 id="Major_themes">Major themes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=13" title="Edit section: Major themes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1023981488">@media all and (max-width:720px){.mw-parser-output .rquote{width:auto!important;float:none!important}}</style><style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote rquote" style="float: right; width: 33%;"><p>The rise and fall, birth and death of the mythical but intensely real Macondo, and the glories and disasters of the wonderful Buendía family; make up an intensely brilliant chronicle of humankind's <a href="/wiki/Comedy_(drama)" title="Comedy (drama)">comedies</a> and <a href="/wiki/Tragedy" title="Tragedy">tragedies</a>. All the many varieties of life are captured here: inventively, amusingly, magnetically, sadly, humorously, luminously, truthfully.<sup id="cite_ref-PSinsights_11-1" class="reference"><a href="#cite_note-PSinsights-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup></p></blockquote><style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Essay-like plainlinks metadata ambox ambox-style ambox-essay-like" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/60px-Edit-clear.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/80px-Edit-clear.svg.png 2x" data-file-width="48" data-file-height="48" /></span></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>is written like a <a href="/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_publisher_of_original_thought" title="Wikipedia:What Wikipedia is not">personal reflection, personal essay, or argumentative essay</a></b> that states a Wikipedia editor's personal feelings or presents an original argument about a topic.<span class="hide-when-compact"> Please <a class="external text" href="https://en.wikipedia.org/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit">help improve it</a> by rewriting it in an <a href="/wiki/Wikipedia:Writing_better_articles#Information_style_and_tone" title="Wikipedia:Writing better articles">encyclopedic style</a>.</span> <span class="date-container"><i>(<span class="date">January 2022</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <div class="mw-heading mw-heading3"><h3 id="Subjectivity_of_reality_and_magic_realism">Subjectivity of reality and magic realism</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=14" title="Edit section: Subjectivity of reality and magic realism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Critics often cite certain works by García Márquez, such as <i><a href="/wiki/A_Very_Old_Man_with_Enormous_Wings" title="A Very Old Man with Enormous Wings">A Very Old Man with Enormous Wings</a></i> and <i>One Hundred Years of Solitude</i>, as exemplary of <a href="/wiki/Magic_realism" class="mw-redirect" title="Magic realism">magic realism</a>, a style of writing in which the supernatural is presented as mundane, and the mundane as supernatural or extraordinary. The term was coined by German art critic <a href="/wiki/Franz_Roh" title="Franz Roh">Franz Roh</a> in 1925.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p><p>The novel presents a fictional story in a fictional setting. The extraordinary events and characters are fabricated, yet García Márquez uses his fantastic story as an expression of reality. "In <i>One Hundred Years of Solitude</i> myth and history overlap. The myth acts as a vehicle to transmit history to the reader. García Márquez's novel could also be referred to as anthropology, where truth is found in language and myth. The real and the fiction are indistinguishable. </p><p>There are three main mythical elements of the novel: classical stories alluding to foundations and origins, characters resembling mythical heroes, and supernatural elements."<sup id="cite_ref-Gonzalez_Echevarria_p._358-80_19-2" class="reference"><a href="#cite_note-Gonzalez_Echevarria_p._358-80-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Magic realism is achieved by the constant intertwining of the ordinary with the extraordinary. This magic realism strikes at one's traditional sense of naturalistic fiction. There is something clearly magical about the world of Macondo. It is a state of mind as much as, or more than, a geographical place. For example, one learns very little about its actual physical layout. Furthermore, once in it, the reader must be prepared to meet whatever the imagination of the author presents to them.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>García Márquez blends the real with the magical through the use of tone and narration. By maintaining the same tone throughout the novel, García Márquez makes the extraordinary blend with the ordinary. His condensation of events and lackadaisical manner in describing them causes the extraordinary to seem less remarkable than it actually is, further blending the real with the magical.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> Reinforcing this effect is the unastonished tone in which the book is written. This tone restricts the ability of the reader to question the events of the novel. However, it also causes the reader to call into question the limits of reality.<sup id="cite_ref-Wood_16-2" class="reference"><a href="#cite_note-Wood-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Furthermore, maintaining the same narrator throughout the novel familiarizes the reader with his voice and causes them to become accustomed to the extraordinary events in the novel.<sup id="cite_ref-Wood_16-3" class="reference"><a href="#cite_note-Wood-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>Throughout the novel, García Márquez is said to have a gift for blending the everyday with the miraculous, the historical with the fabulous, and psychological realism with surreal flights of fancy. It is a revolutionary novel that provides a looking glass into the thoughts and beliefs of its author, who chose to give a literary voice to Latin America: "A Latin America which neither wants, nor has any reason, to be a pawn without a will of its own; nor is it merely wishful thinking that its quest for independence and originality should become a Western aspiration."<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Although we are faced with a very convoluted narrative, García Márquez is able to define clear themes while maintaining individual character identities, and using different narrative techniques such as <a href="/wiki/Third-person_narrator" class="mw-redirect" title="Third-person narrator">third-person narrators</a>, specific point of view narrators, and <a href="/wiki/Stream_of_consciousness_(narrative_mode)" class="mw-redirect" title="Stream of consciousness (narrative mode)">streams of consciousness</a>. Cinematographic techniques are also employed in the novel, with the idea of the <a href="/wiki/Montage_(filmmaking)" title="Montage (filmmaking)">montage</a> and the <a href="/wiki/Close-up" title="Close-up">close-up</a>, which effectively combine the comic and grotesque with the dramatic and tragic. Furthermore, political and historical realities are combined with the mythical and magical Latin American world. Lastly, through human comedy the problems of a family, a town, and a country are unveiled. This is all presented through García Márquez's unique form of narration, which causes the novel to never cease being at its most interesting point.<sup id="cite_ref-ReferenceB_27-0" class="reference"><a href="#cite_note-ReferenceB-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Solitude">Solitude</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=15" title="Edit section: Solitude"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Perhaps the most dominant theme in the book is that of solitude. Macondo was founded in the remote jungles of the Colombian rainforest. The solitude of the town is representative of the colonial period in Latin American history, where outposts and colonies were, for all intents and purposes, not interconnected.<sup id="cite_ref-Bell_10-4" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Isolated from the rest of the world, the Buendías grow to be increasingly solitary and selfish. With every member of the family living only for him or her self, the Buendías become representative of the aristocratic, land-owning elite who came to dominate Latin America in keeping with the sense of Latin American history symbolized in the novel.<sup id="cite_ref-Bell_10-5" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> This egocentricity is embodied, especially, in the characters of Aureliano, who lives in a private world of his own, and Remedios the Beauty, who innocently destroys the lives of four men enamored by her unbelievable beauty, because she is living in a different reality due to what some see as autism.<sup id="cite_ref-Bell_10-6" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Throughout the novel it seems as if no character can find true love or escape the destructiveness of their own egocentricity.<sup id="cite_ref-Bell_10-7" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>The selfishness of the Buendía family is eventually broken by the once superficial Aureliano Segundo and Petra Cotes, who discover a sense of mutual solidarity and the joy of helping others in need during Macondo's economic crisis.<sup id="cite_ref-Bell_10-8" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> The pair even find love, and their pattern is repeated by Aureliano Babilonia and Amaranta Úrsula.<sup id="cite_ref-Bell_10-9" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Eventually, Aureliano and Amaranta Úrsula have a child, and the latter is convinced that it will represent a fresh start for the once-conceited Buendía family.<sup id="cite_ref-Bell_10-10" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> However, the child turns out to be the perpetually feared monster with the pig's tail. </p><p>Nonetheless, the appearance of love represents a shift in Macondo, albeit one that leads to its destruction. "The emergence of love in the novel to displace the traditional egoism of the Buendías reflects the emergence of socialist values as a political force in Latin America, a force that will sweep away the Buendías and the order they represent."<sup id="cite_ref-Bell_10-11" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> The ending to <i>One Hundred Years of Solitude</i> could be a wishful prediction by García Márquez, a well-known socialist, regarding the future of Latin America.<sup id="cite_ref-Bell_10-12" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Fluidity_of_time">Fluidity of time</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=16" title="Edit section: Fluidity of time"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>One Hundred Years of Solitude</i> contains several ideas concerning time. Although the story can be read as a linear progression of events, both when considering individual lives and Macondo's history, García Márquez allows room for several other interpretations of time: </p> <ul><li>He reiterates the metaphor of history as a circular phenomenon through the repetition of names and characteristics belonging to the Buendía family.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> Over six generations, all the José Arcadios possess inquisitive and rational dispositions as well as enormous physical strength. The Aurelianos, meanwhile, lean towards insularity and quietude. This repetition of traits reproduces the history of the individual characters and, ultimately, the history of the town as a succession of the same mistakes <a href="/wiki/Ad_infinitum" title="Ad infinitum">ad infinitum</a> due to some endogenous <a href="/wiki/Hubris" title="Hubris">hubris</a> in our nature.</li> <li>The novel explores the issue of timelessness or eternity even within the framework of mortal existence. A major <a href="/wiki/Trope_(literature)" title="Trope (literature)">trope</a> with which it accomplishes this task is the alchemist's laboratory in the Buendía family home. The laboratory was first designed by Melquíades near the start of the story and remains essentially unchanged throughout its course. It is a place where the male Buendía characters can indulge their will to solitude, whether through attempts to deconstruct the world with reason as in the case of José Arcadio Buendía, or by the endless creation and destruction of golden fish as in the case of his son Colonel Aureliano Buendía. Furthermore, a sense of inevitability prevails throughout the text. This is a feeling that regardless of what way one looks at time, its encompassing nature is the one truthful admission.</li> <li>On the other hand, it is important to keep in mind that <i>One Hundred Years of Solitude</i>, while basically chronological and "linear" enough in its broad outlines, also shows abundant zigzags in time, both flashbacks of matters past and long leaps towards future events. One example of this is the youthful amour between Meme and Mauricio Babilonia, which is already in full swing before we are informed about the origins of the affair.<sup id="cite_ref-Bell_10-13" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading3"><h3 id="Incest">Incest</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=17" title="Edit section: Incest"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A recurring theme in <i>One Hundred Years of Solitude</i> is the Buendía family's propensity towards <a href="/wiki/Incest" title="Incest">incest</a>. The patriarch of the family, Jose Arcadio Buendía, is the first of numerous Buendías to intermarry when he marries his first cousin, Úrsula. Furthermore, the fact that "throughout the novel the family is haunted by the fear of punishment in the form of the birth of a monstrous child with a pig's tail"<sup id="cite_ref-Bell_10-14" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> can be attributed to this initial act and the recurring acts of incest among the Buendías.<sup id="cite_ref-Bell_10-15" class="reference"><a href="#cite_note-Bell-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Elitism">Elitism</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=18" title="Edit section: Elitism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A theme throughout <i>One Hundred Years of Solitude</i> is the <a href="/wiki/Elitism" title="Elitism">elitism</a> of the Buendía family. Gabriel García Márquez shows his criticism of the Latin American elite through the stories of the members of a high-status family who are essentially in love with themselves, to the point of being unable to understand the mistakes of their past and learn from them.<sup id="cite_ref-:0_29-0" class="reference"><a href="#cite_note-:0-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> The Buendía family's literal loving of themselves through <a href="/wiki/Incest" title="Incest">incest</a> not only shows how elites consider themselves to be above the law, but also reveals how little they learn from their history.<sup id="cite_ref-:0_29-1" class="reference"><a href="#cite_note-:0-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> José Arcadio Buendía and Ursula fear that since their relationship is incestuous, their child will have animalistic features;<sup id="cite_ref-:1_30-0" class="reference"><a href="#cite_note-:1-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> even though theirs does not, the final child of the Buendía line, Aureliano of Aureliano and Amaranta Ursula, has the tail of a pig, and because they do not know their history, they do not know that this fear has materialized before, nor do they know that, had the child lived, removing the tail would have resulted in his death.<sup id="cite_ref-:1_30-1" class="reference"><a href="#cite_note-:1-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> This speaks to how elites in Latin America do not pass down history that remembers them in a negative manner. The Buendía family further cannot move beyond giving tribute to themselves in the form of naming their children the same names over and over again. "José Arcadio" appears four times in the family tree, "Aureliano" appears 22 times, "Remedios" appears three times and "Amaranta" and "Ursula" appear twice.<sup id="cite_ref-:1_30-2" class="reference"><a href="#cite_note-:1-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> The continual references to the sprawling Buendía house call to mind the idea of a Big House, or <i><a href="/wiki/Hacienda" title="Hacienda">hacienda</a>,</i> a large land holding in which elite families lived and managed their lands and laborers.<sup id="cite_ref-:2_31-0" class="reference"><a href="#cite_note-:2-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> In Colombia, where the novel takes place, a Big House was known for being a grand one-story dwelling with many bedrooms, parlors, a kitchen, a pantry and a <a href="/wiki/Veranda" title="Veranda">veranda</a>, all areas of the Buendía household mentioned throughout the book.<sup id="cite_ref-:2_31-1" class="reference"><a href="#cite_note-:2-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> The book focuses squarely on one family in the midst of the many residents of Macondo as a representation of how the poorest of Latin American villages have been subjugated and forgotten throughout the course of Latin American history.<sup id="cite_ref-:0_29-2" class="reference"><a href="#cite_note-:0-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Interpretation">Interpretation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=19" title="Edit section: Interpretation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Literary_significance_and_acclaim">Literary significance and acclaim</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=20" title="Edit section: Literary significance and acclaim"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1023981488"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote rquote" style="float: right; width: 33%;"><p><i>One Hundred Years of Solitude</i> is the first piece of literature since the <a href="/wiki/Book_of_Genesis" title="Book of Genesis">Book of Genesis</a> that should be required reading for the entire human race. Mr. García Márquez has done nothing less than to create in the reader a sense of all that is profound, meaningful, and meaningless in life.</p><div class="templatequotecite">— <cite><a href="/wiki/William_Kennedy_(author)" title="William Kennedy (author)">William Kennedy</a>, <i><a href="/wiki/New_York_Times_Book_Review" class="mw-redirect" title="New York Times Book Review">New York Times Book Review</a></i> <sup id="cite_ref-PSinsights_11-2" class="reference"><a href="#cite_note-PSinsights-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup></cite></div></blockquote> <p><i>One Hundred Years of Solitude</i> has received universal recognition. The novel has been awarded Italy's Chianciano Award, France's Prix de Meilleur Livre Etranger, Venezuela's <a href="/wiki/R%C3%B3mulo_Gallegos_Prize" title="Rómulo Gallegos Prize">Rómulo Gallegos Prize</a>, and the United States' <a href="/wiki/Neustadt_International_Prize_for_Literature" title="Neustadt International Prize for Literature">Books Abroad/Neustadt International Prize for Literature</a>. García Márquez also received an honorary LL.D. from <a href="/wiki/Columbia_University" title="Columbia University">Columbia University</a> in New York City. These awards set the stage for García Márquez's 1982 <a href="/wiki/Nobel_Prize_for_Literature" class="mw-redirect" title="Nobel Prize for Literature">Nobel Prize for Literature</a>. The novel topped the list of books that have most shaped world literature over the last 25 years, according to a survey of international writers commissioned by the global literary journal <i><a href="/wiki/Wasafiri" title="Wasafiri">Wasafiri</a></i> as a part of its 25<small>th</small>-anniversary celebration.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>The superlatives from reviewers and readers alike display the resounding praise which the novel has received. <a href="/wiki/Chilean_people" class="mw-redirect" title="Chilean people">Chilean</a> poet and <a href="/wiki/Nobel_Prize_in_Literature" title="Nobel Prize in Literature">Nobel Laureate</a> <a href="/wiki/Pablo_Neruda" title="Pablo Neruda">Pablo Neruda</a> called it "the greatest revelation in the Spanish language since <i><a href="/wiki/Don_Quixote" title="Don Quixote">Don Quixote</a></i> of <a href="/wiki/Cervantes" class="mw-redirect" title="Cervantes">Cervantes</a>", while <a href="/wiki/John_Leonard_(critic)" title="John Leonard (critic)">John Leonard</a> in <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i> wrote that "with a single bound, Gabriel García Márquez leaps onto the stage with <a href="/wiki/G%C3%BCnter_Grass" title="Günter Grass">Günter Grass</a> and <a href="/wiki/Vladimir_Nabokov" title="Vladimir Nabokov">Vladimir Nabokov</a>."<sup id="cite_ref-PSinsights_11-3" class="reference"><a href="#cite_note-PSinsights-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>According to Antonio Sacoto, professor at the <a href="/wiki/City_College_of_the_City_University_of_New_York" class="mw-redirect" title="City College of the City University of New York">City College of the City University of New York</a>, <i>One Hundred Years of Solitude</i> is considered one of the five key novels in Hispanic American literature (together with <i><a href="/wiki/El_Se%C3%B1or_Presidente" title="El Señor Presidente">El Señor Presidente</a></i>, <i><a href="/wiki/Pedro_P%C3%A1ramo" title="Pedro Páramo">Pedro Páramo</a></i>, <i><a href="/wiki/The_Death_of_Artemio_Cruz" title="The Death of Artemio Cruz">La Muerte de Artemio Cruz</a></i>, and <i><a href="/wiki/La_ciudad_y_los_perros" class="mw-redirect" title="La ciudad y los perros">La ciudad y los perros</a></i>). These novels are often considered representative of the boom that allowed Hispanic American literature to reach the quality of North American and European literature in terms of technical quality, rich themes, and linguistic innovations, among other attributes.<sup id="cite_ref-ReferenceB_27-1" class="reference"><a href="#cite_note-ReferenceB-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>In his Nobel Prize acceptance speech, García Márquez addressed the significance of his writing and proposed its role to be more than just literary expression: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><p>I dare to think that it is this outsized reality, and not just its literary expression, that has deserved the attention of the Swedish Academy of Letters. A reality not of paper, but one that lives within us and determines each instant of our countless daily deaths, and that nourishes a source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable. This, my friends, is the crux of our solitude.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup></p></blockquote> <p><a href="/wiki/Harold_Bloom" title="Harold Bloom">Harold Bloom</a> remarked, "My primary impression, in the act of rereading <i>One Hundred Years of Solitude</i>, is a kind of aesthetic battle fatigue, since every page is rammed full of life beyond the capacity of any single reader to absorb... There are no wasted sentences, no mere transitions, in this novel, and you must notice everything at the moment you read it."<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> <a href="/wiki/David_Haberly" title="David Haberly">David Haberly</a> has argued that García Márquez may have borrowed themes from several works, such as <a href="/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a>'s <a href="/wiki/Yoknapatawpha_County" title="Yoknapatawpha County">Yoknapatawpha County</a>, <a href="/wiki/Virginia_Woolf" title="Virginia Woolf">Virginia Woolf</a>'s <i><a href="/wiki/Orlando:_A_Biography" title="Orlando: A Biography">Orlando: A Biography</a></i>, <a href="/wiki/Daniel_Defoe" title="Daniel Defoe">Defoe</a>'s <i><a href="/wiki/A_Journal_of_the_Plague_Year" title="A Journal of the Plague Year">A Journal of the Plague Year</a></i>, and <a href="/wiki/Chateaubriand" class="mw-redirect" title="Chateaubriand">Chateaubriand</a>'s <i><a href="/wiki/Atala_(novella)" title="Atala (novella)">Atala</a></i>, in an example of <a href="/wiki/Intertextuality" title="Intertextuality">intertextuality</a>.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>In 2017, Chilean artist Luisa Rivera illustrated a fiftieth anniversary special edition of <i>One Hundred Years of Solitude</i> published by <a href="/wiki/Random_House" title="Random House">Penguin Random House Group Editorial</a>, <a href="/wiki/Spain" title="Spain">Spain</a>.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Relation_to_Colombian_history">Relation to Colombian history</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=21" title="Edit section: Relation to Colombian history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>As a metaphoric, critical interpretation of Colombian history, from foundation to contemporary nation, <i>One Hundred Years of Solitude</i> presents different <a href="/wiki/National_myth" title="National myth">national myths</a> through the story of the Buendía family,<sup id="cite_ref-McMurray,_George_1969_pp._175-181_20-1" class="reference"><a href="#cite_note-McMurray,_George_1969_pp._175-181-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> whose spirit of adventure places them amidst the important actions of Colombian historical events. These events include the inclusion of the Roma "Gypsies", the Liberal political reformation of a colonial way of life, and the 19th-century arguments for and against it; the arrival of the railway to a mountainous country; the <a href="/wiki/Thousand_Days%27_War" title="Thousand Days' War">Thousand Days' War</a> (Guerra de los Mil Días, 1899–1902); the corporate <a href="/wiki/Hegemony" title="Hegemony">hegemony</a> of the <a href="/wiki/United_Fruit_Company" title="United Fruit Company">United Fruit Company</a> ("American Fruit Company" in the story); the <a href="/wiki/Film" title="Film">cinema</a>; the <a href="/wiki/Automobile" class="mw-redirect" title="Automobile">automobile</a>; and the <a href="/wiki/Banana_massacre" class="mw-redirect" title="Banana massacre">military massacre of striking workers</a> as government–labour relations policy.<sup id="cite_ref-Wood_16-4" class="reference"><a href="#cite_note-Wood-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Inclusion_of_the_Roma_("Gypsies")"><span id="Inclusion_of_the_Roma_.28.22Gypsies.22.29"></span>Inclusion of the Roma ("Gypsies")</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=22" title="Edit section: Inclusion of the Roma ("Gypsies")"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>According to Hazel Marsh, a Senior Lecturer in Latin American Studies at the <a href="/wiki/University_of_East_Anglia" title="University of East Anglia">University of East Anglia</a>, it is estimated that 8,000 <a href="/wiki/Romani_Colombians" class="mw-redirect" title="Romani Colombians">Roma</a> live in <a href="/wiki/Colombia" title="Colombia">Colombia</a> today. However, "most South American history books...exclude the presence of the Roma."<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> <i>One Hundred Years of Solitude</i> differs from this tendency by including the traveling Roma throughout the story. Led by a man named Melquíades, the Roma bring new discoveries and technology to the isolated village of Macondo, often inciting the curiosity of José Arcadio Buendía. </p> <div class="mw-heading mw-heading4"><h4 id="Depiction_of_the_Thousand_Days_War">Depiction of the Thousand Days War</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=23" title="Edit section: Depiction of the Thousand Days War"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Thousand_Days%27_War" title="Thousand Days' War">The Thousand Days War</a> in Colombia was fought between <a href="/wiki/Colombian_Liberal_Party" title="Colombian Liberal Party">Liberals</a> and <a href="/wiki/Colombian_Conservative_Party" title="Colombian Conservative Party">Conservatives</a> from 1899 to 1902. The Conservatives had been "in control more or less constantly since 1867," and the Liberals, mainly coffee plantation owners and workers who had been excluded from representation, sparked a revolution in October 1899.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> The fighting continued for a few years, and it is estimated that over 130,000 people died. </p><p>In Chapters 5 and 6 of <i>One Hundred Years of Solitude</i>, the Conservative Army has invaded the town of Macondo leading Aureliano to eventually lead a rebellion. The rebellion is successful - the Conservative Army falls - and afterward, Aureliano, now 'Colonel Aureliano Buendía' decides to continue fighting. He departs Macondo with the band of people who helped him oust the Conservative Army to go continue fighting elsewhere for the Liberal side. </p><p>Because Macondo is a fictional town created by Gabriel García Márquez, the exact events of the Thousand Days' War as they occurred in the book are fictional. However, these events are widely considered to be metaphorical for the Thousand Days War as experienced by the entire country of Colombia. </p> <div class="mw-heading mw-heading4"><h4 id="Representation_of_the_"Banana_Massacre""><span id="Representation_of_the_.22Banana_Massacre.22"></span>Representation of the "Banana Massacre"</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=24" title="Edit section: Representation of the "Banana Massacre""><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The "<a href="/wiki/Banana_Massacre" title="Banana Massacre">Banana Massacre</a>" occurred December 5-6, 1928, in <a href="/wiki/Ci%C3%A9nega,_Boyac%C3%A1" title="Ciénega, Boyacá">Ciénaga</a> near <a href="/wiki/Santa_Marta" title="Santa Marta">Santa Marta, Colombia</a>. Banana plantation workers had been striking against the <a href="/wiki/United_Fruit_Company" title="United Fruit Company">United Fruit Company</a> to earn better labor conditions when members of the local military fired guns into crowds.<sup id="cite_ref-:3_39-0" class="reference"><a href="#cite_note-:3-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>This event, which occurs in Chapter 15 of <i>One Hundred Years of Solitude</i>, was depicted with relative accuracy, minus a false sense of certainty about the specific facts surrounding the events. For instance, although Garcia Márquez writes that there must have been "three thousand...dead," the true number of victims is unknown. However, the number likely was not far off, because it is considered that the "number of killings was over a thousand," according to Dr. Jorge Enrique Elias Caro and Dr. Antonino Vidal Ortega.<sup id="cite_ref-:3_39-1" class="reference"><a href="#cite_note-:3-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> The lack of information surrounding the "Banana Massacre" is thought to be largely due to the "manipulation of the information as registered by the Colombian Government and the United Fruit Company."<sup id="cite_ref-:3_39-2" class="reference"><a href="#cite_note-:3-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Internal_references">Internal references</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=25" title="Edit section: Internal references"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In the novel's account of the civil war and subsequent peace, there are numerous mentions of the pensions not arriving for the veterans, a reference to one of García Márquez's earlier works, <i>El coronel no tiene quien le escriba</i>. In the novel's final chapter, García Márquez refers to the novel <i><a href="/wiki/Hopscotch_(Julio_Cort%C3%A1zar_novel)" class="mw-redirect" title="Hopscotch (Julio Cortázar novel)">Hopscotch</a></i> (Spanish: <i>Rayuela</i>) by <a href="/wiki/Julio_Cort%C3%A1zar" title="Julio Cortázar">Julio Cortázar</a> in the following line: "...in the room that smelled of boiled cauliflower where Rocamadour was to die" (p. 412). Rocamadour is a fictional character in <i>Hopscotch</i> who indeed dies in the room described. He also refers to two other major works by Latin American writers in the novel: <i><a href="/wiki/The_Death_of_Artemio_Cruz" title="The Death of Artemio Cruz">The Death of Artemio Cruz</a></i> (Spanish: <i>La Muerte de Artemio Cruz</i>) by Carlos Fuentes and <i><a href="/wiki/Explosion_in_a_Cathedral" title="Explosion in a Cathedral">Explosion in a Cathedral</a></i> (Spanish: <i>El siglo de las luces</i>) by <a href="/wiki/Alejo_Carpentier" title="Alejo Carpentier">Alejo Carpentier</a>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2021)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading2"><h2 id="Adaptations">Adaptations</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=26" title="Edit section: Adaptations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Sh%C5%ABji_Terayama" title="Shūji Terayama">Shūji Terayama</a>'s play <i>One Hundred Years of Solitude</i> (百年の孤独, originally performed by the <a href="/wiki/Tenj%C5%8D_Sajiki" title="Tenjō Sajiki">Tenjō Sajiki</a> theater troupe) and his film <i><a href="/wiki/Farewell_to_the_Ark" title="Farewell to the Ark">Farewell to the Ark</a></i> (さらば箱舟) are loose (and unauthorized) adaptations of the novel transplanted into the realm of Japanese culture and history. </p><p>On March 6, 2019, García Márquez's son Rodrigo García Barcha, announced that <a href="/wiki/Netflix" title="Netflix">Netflix</a> was adapting <i>One Hundred Years of Solitude</i> into <a href="/wiki/One_Hundred_Years_of_Solitude_(TV_series)" title="One Hundred Years of Solitude (TV series)">a TV series</a>.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p><p>On October 21, 2022, Netflix commemorated the fortieth anniversary of the announcement of García Márquez's Nobel Prize in Literature with an exclusive preview of <i>One Hundred Years of Solitude</i>.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><p>On the tenth anniversary of García Márquez's death, Netflix released the official teaser for <i>One Hundred Years of Solitude</i> and revealed that the series will run for sixteen episodes. The cast includes Claudio Cataño (Colonel Aureliano Buendía), Jerónimo Barón (young Aureliano Buendía), Marco González (Jose Arcadio Buendía), Leonardo Soto (José Arcadio), Susana Morales (Úrsula Iguarán), Ella Becerra (Petronila Iguarán), Carlos Suaréz (Aureliano Iguarán), Moreno Borja (Melquiades), and Santiago Vásquez (teenage Aureliano Buendía).<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p><i>One Hundred Years of Solitude</i> is considered by fans to be García Márquez's masterpiece yet he himself refused to sell the screening rights to his novel because he did not want it to be adapted in any language other than Spanish and felt a film adaptation would not cover the entire plot due to its length. For the upcoming TV adaptation, Netflix worked with Rodrigo and Gonzalo García who served as the show's executive producers. The episodes were all shot in the late writer's native Colombia and directed by Alex García Lopez, and all the characters' lines are spoken in Spanish. Barbara Enriquez, who had previously worked on Netflix's <i><a href="/wiki/Roma_(2018_film)" title="Roma (2018 film)">Roma</a></i>, served as the show's production designer. <i>One Hundred Years of Solitude</i> is Netflix's most expensive Latin American-made project to date, with Colombian groups and indigenous communities making and providing props, and a total of four hundred fifty locals building three different versions of Macondo for the progression of the series.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p><p>In García Márquez's birthplace of Aracataca, the locals were disappointed that <i>One Hundred Years of Solitude</i> was not shot there yet they still hope the upcoming Netflix series will draw people in.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=27" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Le_Monde%27s_100_Books_of_the_Century" title="Le Monde's 100 Books of the Century"><i>Le Monde</i><span class="nowrap" style="padding-left:0.1em;">'s</span> 100 Books of the Century</a></li> <li><a href="/wiki/List_of_best-selling_books" title="List of best-selling books">List of best-selling books</a></li> <li><i><a href="/wiki/What_Remains_of_Edith_Finch" title="What Remains of Edith Finch">What Remains of Edith Finch</a></i></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=28" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-oedb.org-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-oedb.org_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-oedb.org_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://oedb.org/ilibrarian/50_books_that_changed_the_world/">"The 50 Most Influential Books of All Time"</a>. <i>Open Education Database</i>. 26 January 2010.</cite><span 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title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Penguin&rft.atitle=100+must-read+classic+books%2C+as+chosen+by+our+readers&rft.date=2022-05-26&rft_id=https%3A%2F%2Fwww.penguin.co.uk%2Farticles%2F2018%2F100-must-read-classic-books%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://congresosdelalengua.es/Cartagena/inauguracion/garcia-marquez.htm">"Agradecimiento"</a>. <i>Congresos Internacionales de la Lengua Española</i> (in Spanish)<span class="reference-accessdate">. Retrieved <span class="nowrap">31 August</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Congresos+Internacionales+de+la+Lengua+Espa%C3%B1ola&rft.atitle=Agradecimiento&rft_id=https%3A%2F%2Fcongresosdelalengua.es%2FCartagena%2Finauguracion%2Fgarcia-marquez.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTovar2007" class="citation news cs1 cs1-prop-foreign-lang-source">Tovar, Guillermo (22 March 2007). <a rel="nofollow" class="external text" href="https://www.elmundo.es/elmundo/2007/03/22/cultura/1174560104.html">"Gabriel García Márquez será el personaje central del IV Congreso de la Lengua"</a>. <i><a href="/wiki/El_Mundo_(Spain)" title="El Mundo (Spain)">El Mundo (Spain)</a></i> (in Spanish). <a href="/wiki/EFE" title="EFE">EFE</a><span class="reference-accessdate">. Retrieved <span class="nowrap">31 August</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=El+Mundo+%28Spain%29&rft.atitle=Gabriel+Garc%C3%ADa+M%C3%A1rquez+ser%C3%A1+el+personaje+central+del+IV+Congreso+de+la+Lengua&rft.date=2007-03-22&rft.aulast=Tovar&rft.aufirst=Guillermo&rft_id=https%3A%2F%2Fwww.elmundo.es%2Felmundo%2F2007%2F03%2F22%2Fcultura%2F1174560104.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://thewalrus.ca/2007-12-books-2/">"One Hundred Years at Forty"</a> (December 2007) <i>The Walrus</i>, Canada</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://culturacolectiva.com/entretenimiento/netflix-estrenara-su-nueva-serie-cien-anos-de-soledad">"Esto es lo que sabemos de la serie de 'Cien Años de Soledad' que producirá Netflix"</a>. <i>culturacolectiva.com</i>. 29 September 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=culturacolectiva.com&rft.atitle=Esto+es+lo+que+sabemos+de+la+serie+de+%27Cien+A%C3%B1os+de+Soledad%27+que+producir%C3%A1+Netflix&rft.date=2020-09-29&rft_id=https%3A%2F%2Fculturacolectiva.com%2Fentretenimiento%2Fnetflix-estrenara-su-nueva-serie-cien-anos-de-soledad&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170906091425/https://www.economist.com/news/obituary/21601223-gabriel-garc-m-rquez-latin-americas-literary-colossus-died-april-17th-aged-87">"The magician in his labyrinth"</a>. <i><a href="/wiki/The_Economist" title="The Economist">The Economist</a></i>. 2017-09-06. Archived from <a rel="nofollow" class="external text" href="https://www.economist.com/news/obituary/21601223-gabriel-garc-m-rquez-latin-americas-literary-colossus-died-april-17th-aged-87">the original</a> on 2017-09-06<span class="reference-accessdate">. Retrieved <span class="nowrap">2020-04-16</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Economist&rft.atitle=The+magician+in+his+labyrinth&rft.date=2017-09-06&rft_id=https%3A%2F%2Fwww.economist.com%2Fnews%2Fobituary%2F21601223-gabriel-garc-m-rquez-latin-americas-literary-colossus-died-april-17th-aged-87&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-Bell-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bell_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bell_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Bell_10-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Bell_10-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Bell_10-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Bell_10-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Bell_10-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Bell_10-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Bell_10-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Bell_10-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Bell_10-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Bell_10-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Bell_10-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-Bell_10-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-Bell_10-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-Bell_10-15"><sup><i><b>p</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBell-Villada2002" class="citation book cs1"><a href="/wiki/Gene_H._Bell-Villada" title="Gene H. 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Web, www.themodernword.com/gabo/. April 17, 2010</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.washingtonpost.com/archive/entertainment/books/1981/08/16/love-and-immolation-in-argentina/9cf0bdac-cfc3-4198-8824-d89d5e059c55/">"Love and Immolation in Argentina"</a>. <i><a href="/wiki/Washington_Post" class="mw-redirect" title="Washington Post">Washington Post</a></i>. 16 August 1981.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Washington+Post&rft.atitle=Love+and+Immolation+in+Argentina&rft.date=1981-08-16&rft_id=https%3A%2F%2Fwww.washingtonpost.com%2Farchive%2Fentertainment%2Fbooks%2F1981%2F08%2F16%2Flove-and-immolation-in-argentina%2F9cf0bdac-cfc3-4198-8824-d89d5e059c55%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-Wood-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-Wood_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Wood_16-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Wood_16-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Wood_16-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Wood_16-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWood1990" class="citation book cs1"><a href="/wiki/Michael_Wood_(academic)" class="mw-redirect" title="Michael Wood (academic)">Wood, Michael</a> (1990). <i>Gabriel García Márquez: One Hundred Years of Solitude</i>. Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-31692-8" title="Special:BookSources/0-521-31692-8"><bdi>0-521-31692-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gabriel+Garc%C3%ADa+M%C3%A1rquez%3A+One+Hundred+Years+of+Solitude&rft.pub=Cambridge+University+Press&rft.date=1990&rft.isbn=0-521-31692-8&rft.aulast=Wood&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-Erickson-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-Erickson_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Erickson_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Erickson_17-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFErickson2009" class="citation book cs1">Erickson, Daniel (2009). <i>Ghosts, Metaphor, and History in Toni Morrison's Beloved and Gabriel García Márquez's One Hundred Years off Solitude</i>. Macmillan. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-230-61348-5" title="Special:BookSources/978-0-230-61348-5"><bdi>978-0-230-61348-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ghosts%2C+Metaphor%2C+and+History+in+Toni+Morrison%27s+Beloved+and+Gabriel+Garc%C3%ADa+M%C3%A1rquez%27s+One+Hundred+Years+off+Solitude&rft.pub=Macmillan&rft.date=2009&rft.isbn=978-0-230-61348-5&rft.aulast=Erickson&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Some Implications of Yellow and Gold in García Márquez's "One Hundred Years of Solitude": Color Symbolism, Onomastics, and Anti-Idyll" by John Carson Pettey Citation Revista Hispánica Moderna, Año 53, No. 1 pp. 162–178 Year 2000</span> </li> <li id="cite_note-Gonzalez_Echevarria_p._358-80-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gonzalez_Echevarria_p._358-80_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gonzalez_Echevarria_p._358-80_19-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gonzalez_Echevarria_p._358-80_19-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">"Cien años de soledad: the novel as myth and archive" by Gonzalez Echevarria. p. 358-80 Year 1984</span> </li> <li id="cite_note-McMurray,_George_1969_pp._175-181-20"><span class="mw-cite-backlink">^ <a href="#cite_ref-McMurray,_George_1969_pp._175-181_20-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-McMurray,_George_1969_pp._175-181_20-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcMurray1969" class="citation journal cs1">McMurray, George R. (December 1969). "Reality and Myth in Garcia Márquez' 'Cien anos de soledad'<span class="cs1-kern-right"></span>". <i>The Bulletin of the Rocky Mountain Modern Language Association</i>. <b>23</b> (4): 175–181. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1346518">10.2307/1346518</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1346518">1346518</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Bulletin+of+the+Rocky+Mountain+Modern+Language+Association&rft.atitle=Reality+and+Myth+in+Garcia+M%C3%A1rquez%27+%27Cien+anos+de+soledad%27&rft.volume=23&rft.issue=4&rft.pages=175-181&rft.date=1969-12&rft_id=info%3Adoi%2F10.2307%2F1346518&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1346518%23id-name%3DJSTOR&rft.aulast=McMurray&rft.aufirst=George+R.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-Gordo-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gordo_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gordo_21-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gordo_21-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Gordo_21-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Gordo_21-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Gordo_21-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Gordo_21-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Gordo_21-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Gordo_21-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Gordo_21-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Gordo_21-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Gordo_21-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Gordo_21-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-Gordo_21-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-Gordo_21-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-Gordo_21-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-Gordo_21-16"><sup><i><b>q</b></i></sup></a> <a href="#cite_ref-Gordo_21-17"><sup><i><b>r</b></i></sup></a> <a href="#cite_ref-Gordo_21-18"><sup><i><b>s</b></i></sup></a> <a href="#cite_ref-Gordo_21-19"><sup><i><b>t</b></i></sup></a> <a href="#cite_ref-Gordo_21-20"><sup><i><b>u</b></i></sup></a> <a href="#cite_ref-Gordo_21-21"><sup><i><b>v</b></i></sup></a> <a href="#cite_ref-Gordo_21-22"><sup><i><b>w</b></i></sup></a> <a href="#cite_ref-Gordo_21-23"><sup><i><b>x</b></i></sup></a> <a href="#cite_ref-Gordo_21-24"><sup><i><b>y</b></i></sup></a> <a href="#cite_ref-Gordo_21-25"><sup><i><b>z</b></i></sup></a> <a href="#cite_ref-Gordo_21-26"><sup><i><b>aa</b></i></sup></a> <a href="#cite_ref-Gordo_21-27"><sup><i><b>ab</b></i></sup></a> <a href="#cite_ref-Gordo_21-28"><sup><i><b>ac</b></i></sup></a> <a href="#cite_ref-Gordo_21-29"><sup><i><b>ad</b></i></sup></a> <a href="#cite_ref-Gordo_21-30"><sup><i><b>ae</b></i></sup></a> <a href="#cite_ref-Gordo_21-31"><sup><i><b>af</b></i></sup></a> <a href="#cite_ref-Gordo_21-32"><sup><i><b>ag</b></i></sup></a> <a href="#cite_ref-Gordo_21-33"><sup><i><b>ah</b></i></sup></a> <a href="#cite_ref-Gordo_21-34"><sup><i><b>ai</b></i></sup></a> <a href="#cite_ref-Gordo_21-35"><sup><i><b>aj</b></i></sup></a> <a href="#cite_ref-Gordo_21-36"><sup><i><b>ak</b></i></sup></a> <a href="#cite_ref-Gordo_21-37"><sup><i><b>al</b></i></sup></a> <a href="#cite_ref-Gordo_21-38"><sup><i><b>am</b></i></sup></a> <a href="#cite_ref-Gordo_21-39"><sup><i><b>an</b></i></sup></a> <a href="#cite_ref-Gordo_21-40"><sup><i><b>ao</b></i></sup></a> <a href="#cite_ref-Gordo_21-41"><sup><i><b>ap</b></i></sup></a> <a href="#cite_ref-Gordo_21-42"><sup><i><b>aq</b></i></sup></a> <a href="#cite_ref-Gordo_21-43"><sup><i><b>ar</b></i></sup></a></span> <span class="reference-text">Gordo-Guarinos, Francisco. <i>Cien años de soledad.</i> Barcelona: Editorial Vosgos, S.A., 1977.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/topic/One-Hundred-Years-of-Solitude">"Maranta"</a>. <i>www.britannica.com /</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-05-26</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.britannica.com+%2F&rft.atitle=Maranta&rft_id=https%3A%2F%2Fwww.britannica.com%2Ftopic%2FOne-Hundred-Years-of-Solitude&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Franz Roh: Nach-Expressionismus. Magischer Realismus. Probleme der neuesten europäischen Malerei. Klinkhardt & Biermann, Leipzig 1925.</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://records.viu.ca/~johnstoi/introser/marquez.HTM">Ian Johnston (March 28, 1995) "On Marquez's One Hundred Years of Solitude"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160416051959/http://records.viu.ca/~johnstoi/introser/marquez.htm">Archived</a> April 16, 2016, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Malaspina University College (now Vancouver Island University), Canada</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Gullon, Ricardo. "Review: Gabriel García Márquez & the Lost Art of Storytelling". <i>Diacritics</i>, Vol. 1, No. 1 (Autumn, 1971), pp. 27–32.</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><i>The Dialectics of our America: Genealogy, Cultural Critique, and Literary History Post-Contemporary Interventions</i>, by José David Saldívar, Duke University Press, 1991, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8223-1169-0" title="Special:BookSources/0-8223-1169-0">0-8223-1169-0</a>, pg. 21</span> </li> <li id="cite_note-ReferenceB-27"><span class="mw-cite-backlink">^ <a href="#cite_ref-ReferenceB_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ReferenceB_27-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Antonio Sacoto (1979) <i>Cinco novelas claves de la novela hispano americana</i> (<i><a href="/wiki/El_se%C3%B1or_presidente" class="mw-redirect" title="El señor presidente">El señor presidente</a></i>, <i><a href="/wiki/Pedro_P%C3%A1ramo" title="Pedro Páramo">Pedro Páramo</a></i>, <i><a href="/wiki/La_muerte_de_Artemio_Cruz" class="mw-redirect" title="La muerte de Artemio Cruz">La muerte de Artemio Cruz</a></i>, <i><a href="/wiki/La_ciudad_y_los_perros" class="mw-redirect" title="La ciudad y los perros">La ciudad y los perros</a></i>, <i>Cien años de soledad</i>), Eliseo Torres & Sons, New York</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">One Hundred Years of Solitude, Encyclopedia Beta.</span> </li> <li id="cite_note-:0-29"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_29-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:0_29-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Elsey, Brenda. "One Hundred Years of Solitude." History of Latin America 1810-Present. Hofstra University. Adams Hall, Hempstead. 3 March 2020. Lecture.</span> </li> <li id="cite_note-:1-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-:1_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:1_30-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:1_30-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGarcía_Márquez,_Gabriel,_1927-20141970" class="citation book cs1">García Márquez, Gabriel, 1927-2014 (25 March 1970). <i>One hundred years of solitude</i>. Rabassa, Gregory (First ed.). New York. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-06-011418-5" title="Special:BookSources/0-06-011418-5"><bdi>0-06-011418-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/54659">54659</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=One+hundred+years+of+solitude&rft.place=New+York&rft.edition=First&rft.date=1970-03-25&rft_id=info%3Aoclcnum%2F54659&rft.isbn=0-06-011418-5&rft.au=Garc%C3%ADa+M%C3%A1rquez%2C+Gabriel%2C+1927-2014&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: CS1 maint: location missing publisher (<a href="/wiki/Category:CS1_maint:_location_missing_publisher" title="Category:CS1 maint: location missing publisher">link</a>) CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list" title="Category:CS1 maint: multiple names: authors list">link</a>) CS1 maint: numeric names: authors list (<a href="/wiki/Category:CS1_maint:_numeric_names:_authors_list" title="Category:CS1 maint: numeric names: authors list">link</a>)</span></span> </li> <li id="cite_note-:2-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-:2_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:2_31-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeade2016" class="citation book cs1"><a href="/wiki/Teresa_Meade" title="Teresa Meade">Meade, Teresa A.</a> (19 January 2016). <i>A history of modern Latin America : 1800 to the present</i> (Second ed.). Chichester, West Sussex. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-118-77248-5" title="Special:BookSources/978-1-118-77248-5"><bdi>978-1-118-77248-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/915135785">915135785</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+history+of+modern+Latin+America+%3A+1800+to+the+present&rft.place=Chichester%2C+West+Sussex&rft.edition=Second&rft.date=2016-01-19&rft_id=info%3Aoclcnum%2F915135785&rft.isbn=978-1-118-77248-5&rft.aulast=Meade&rft.aufirst=Teresa+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: CS1 maint: location missing publisher (<a href="/wiki/Category:CS1_maint:_location_missing_publisher" title="Category:CS1 maint: location missing publisher">link</a>)</span></span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20091005175839/http://www.wasafiri.org/pages/news_01/news_item.asp?News_01ID=182">"25 acclaimed international writers choose 25 of the best books from the last 25 years"</a>. <i>Wasafiri Magazine</i>. September 25, 2009. Archived from <a rel="nofollow" class="external text" href="http://www.wasafiri.org/pages/news_01/news_item.asp?News_01ID=182">the original</a> on October 5, 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">October 2,</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Wasafiri+Magazine&rft.atitle=25+acclaimed+international+writers+choose+25+of+the+best+books+from+the+last+25+years&rft.date=2009-09-25&rft_id=http%3A%2F%2Fwww.wasafiri.org%2Fpages%2Fnews_01%2Fnews_item.asp%3FNews_01ID%3D182&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Márquez, Gabriel Garcia. Nobel Lecture, Hispanic Heritage in the Americas. Nobel Lecture, 8 December 1982</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Bloom, Harold. <i>Bloom's Critical Interpretations</i>: Edited and with an Introduction by Harold Bloom: "Gabriel García Márquez's One Hundred Years of Solitude". Philadelphia: Chelsea House Publishers, 2003</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Haberly, David T. (1990) <i>Bags of Bones: A Source for Cien Años de Soledad</i>, The Johns Hopkins University Press</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGarcía_Márquez2017" class="citation web cs1 cs1-prop-foreign-lang-source">García Márquez, Garcia (2017). <a rel="nofollow" class="external text" href="https://www.penguinlibros.com/es/literatura-contemporanea/36986-libro-cien-anos-de-soledad-edicion-ilustrada-9788439732471">"<i>Cien años de soledad (edición ilustrada)</i>"</a> (in Spanish). <a href="/wiki/Random_House" title="Random House">Penguin Random House Group Editorial, Spain</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cien+a%C3%B1os+de+soledad+%28edici%C3%B3n+ilustrada%29&rft.pub=Penguin+Random+House+Group+Editorial%2C+Spain&rft.date=2017&rft.aulast=Garc%C3%ADa+M%C3%A1rquez&rft.aufirst=Garcia&rft_id=https%3A%2F%2Fwww.penguinlibros.com%2Fes%2Fliteratura-contemporanea%2F36986-libro-cien-anos-de-soledad-edicion-ilustrada-9788439732471&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.latinolife.co.uk/node/289">"The Roma Gypsies of Colombia | Latino Life"</a>. <i>www.latinolife.co.uk</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-03-24</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.latinolife.co.uk&rft.atitle=The+Roma+Gypsies+of+Colombia+%7C+Latino+Life&rft_id=https%3A%2F%2Fwww.latinolife.co.uk%2Fnode%2F289&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMinster2020" class="citation web cs1">Minster, Christopher (January 2, 2020). <a rel="nofollow" class="external text" href="https://www.thoughtco.com/the-thousand-days-war-2136356">"The Thousand Days' War"</a>. <i>www.thoughtco.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-03-24</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.thoughtco.com&rft.atitle=The+Thousand+Days%27+War&rft.date=2020-01-02&rft.aulast=Minster&rft.aufirst=Christopher&rft_id=https%3A%2F%2Fwww.thoughtco.com%2Fthe-thousand-days-war-2136356&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-:3-39"><span class="mw-cite-backlink">^ <a href="#cite_ref-:3_39-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:3_39-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:3_39-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCaro2012" class="citation journal cs1">Caro, Jorge Enrique Elías (2012). <a rel="nofollow" class="external text" href="http://www.scielo.org.co/pdf/memor/n18/n18a03.pdf">"The worker's massacre of 1928 in the Magdalena Zona Bananera - Colombia. An unfinished story"</a> <span class="cs1-format">(PDF)</span>. <i>Revista digital de Historia y Arqueología desde el Caribe colombiano</i> – via Memorias.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Revista+digital+de+Historia+y+Arqueolog%C3%ADa+desde+el+Caribe+colombiano&rft.atitle=The+worker%27s+massacre+of+1928+in+the+Magdalena+Zona+Bananera+-+Colombia.+An+unfinished+story&rft.date=2012&rft.aulast=Caro&rft.aufirst=Jorge+Enrique+El%C3%ADas&rft_id=http%3A%2F%2Fwww.scielo.org.co%2Fpdf%2Fmemor%2Fn18%2Fn18a03.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHoyos_Vargas2019" class="citation web cs1 cs1-prop-foreign-lang-source">Hoyos Vargas, Andrés (March 6, 2019). <a rel="nofollow" class="external text" href="https://www.eltiempo.com/cultura/cine-y-tv/netflix-hara-una-serie-de-la-novela-cien-anos-de-soledad-de-gabriel-garcia-marquez-334516">"<i>Cien años de soledad' se convertirá en una serie de Netflix</i>"</a> (in Spanish). El Tiempo<span class="reference-accessdate">. Retrieved <span class="nowrap">6 March</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cien+a%C3%B1os+de+soledad%27+se+convertir%C3%A1+en+una+serie+de+Netflix&rft.pub=El+Tiempo&rft.date=2019-03-06&rft.aulast=Hoyos+Vargas&rft.aufirst=Andr%C3%A9s&rft_id=https%3A%2F%2Fwww.eltiempo.com%2Fcultura%2Fcine-y-tv%2Fnetflix-hara-una-serie-de-la-novela-cien-anos-de-soledad-de-gabriel-garcia-marquez-334516&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/books/2019/mar/07/netflix-to-adapt-one-hundred-years-of-solitude-by-gabriel-garcia-marquez">"<i>Netflix to adapt One Hundred Years of Solitude by Gabriel García Márquez</i>"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. 7 March 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Netflix+to+adapt+One+Hundred+Years+of+Solitude+by+Gabriel+Garc%C3%ADa+M%C3%A1rquez&rft.date=2019-03-07&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2019%2Fmar%2F07%2Fnetflix-to-adapt-one-hundred-years-of-solitude-by-gabriel-garcia-marquez&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDaniels2019" class="citation web cs1">Daniels, Joe Parkin (8 March 2019). <a rel="nofollow" class="external text" href="https://www.theguardian.com/books/2019/mar/08/colombians-await-one-hundred-years-of-solitude-screen-adaptation-with-joy-and-fear">"<i>Colombians await One Hundred Years of Solitude screen adaptation with joy and fear</i>"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Colombians+await+One+Hundred+Years+of+Solitude+screen+adaptation+with+joy+and+fear&rft.date=2019-03-08&rft.aulast=Daniels&rft.aufirst=Joe+Parkin&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2019%2Fmar%2F08%2Fcolombians-await-one-hundred-years-of-solitude-screen-adaptation-with-joy-and-fear&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=p2_QybaXvJo">"<i>One Hundred Years of Solitude: Special Announcement from Netflix</i>"</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>. October 21, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=One+Hundred+Years+of+Solitude%3A+Special+Announcement+from+Netflix&rft.pub=YouTube&rft.date=2022-10-21&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dp2_QybaXvJo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=vG45GfgD2JU">"<i>One Hundred Years of Solitude: Official Teaser</i>"</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>. April 17, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=One+Hundred+Years+of+Solitude%3A+Official+Teaser&rft.pub=YouTube&rft.date=2024-04-17&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DvG45GfgD2JU&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://about.netflix.com/en/news/netflix-presents-a-first-look-at-scenes-from-one-hundred-years-of-solitude">"<i>Netflix Presents a First Look at Scenes From One Hundred Years of Solitude</i>"</a>. <a href="/wiki/Netflix" title="Netflix">Netflix</a>. April 17, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Netflix+Presents+a+First+Look+at+Scenes+From+One+Hundred+Years+of+Solitude&rft.pub=Netflix&rft.date=2024-04-17&rft_id=https%3A%2F%2Fabout.netflix.com%2Fen%2Fnews%2Fnetflix-presents-a-first-look-at-scenes-from-one-hundred-years-of-solitude&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChang2024" class="citation web cs1">Chang, Emily (April 25, 2024). <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=jzILJXKa66I">"<i>The Circuit: Why Netflix Is Betting Big on Latin America</i>"</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Circuit%3A+Why+Netflix+Is+Betting+Big+on+Latin+America&rft.pub=YouTube&rft.date=2024-04-25&rft.aulast=Chang&rft.aufirst=Emily&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DjzILJXKa66I&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2024" class="citation web cs1">Taylor, Luke (May 18, 2024). <a rel="nofollow" class="external text" href="https://www.theguardian.com/books/article/2024/may/18/netflix-gabriel-garcia-marquez-colombian-one-hundred-years-of-solitude">"<i>Netflix's One Hundred Years of Solitude brings fame to Gabriel García Márquez's Colombian hometown</i>"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Netflix%27s+One+Hundred+Years+of+Solitude+brings+fame+to+Gabriel+Garc%C3%ADa+M%C3%A1rquez%27s+Colombian+hometown&rft.pub=The+Guardian&rft.date=2024-05-18&rft.aulast=Taylor&rft.aufirst=Luke&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2Farticle%2F2024%2Fmay%2F18%2Fnetflix-gabriel-garcia-marquez-colombian-one-hundred-years-of-solitude&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=29" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKiely1970" class="citation news cs1">Kiely, Robert (March 8, 1970). <a rel="nofollow" class="external text" href="https://www.nytimes.com/books/97/06/15/reviews/marque-solitude.html">"Memory and Prophecy, Illusion and Reality Are Mixed and Made to Look the Same"</a>. Books. <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Memory+and+Prophecy%2C+Illusion+and+Reality+Are+Mixed+and+Made+to+Look+the+Same&rft.date=1970-03-08&rft.aulast=Kiely&rft.aufirst=Robert&rft_id=https%3A%2F%2Fwww.nytimes.com%2Fbooks%2F97%2F06%2F15%2Freviews%2Fmarque-solitude.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSoame2015" class="citation web cs1">Soame, Sally (December 2015). <a rel="nofollow" class="external text" href="http://www.vanityfair.com/culture/2015/12/gabriel-garcia-marquez-one-hundred-years-of-solitude-history">"The Secret History of <i>One Hundred Years of Solitude</i>"</a>. <i><a href="/wiki/Vanity_Fair_(magazine)" title="Vanity Fair (magazine)">Vanity Fair</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Vanity+Fair&rft.atitle=The+Secret+History+of+One+Hundred+Years+of+Solitude&rft.date=2015-12&rft.aulast=Soame&rft.aufirst=Sally&rft_id=http%3A%2F%2Fwww.vanityfair.com%2Fculture%2F2015%2F12%2Fgabriel-garcia-marquez-one-hundred-years-of-solitude-history&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=30" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output 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has quotations related to <i><b><a href="https://en.wikiquote.org/wiki/Special:Search/One_Hundred_Years_of_Solitude" class="extiw" title="q:Special:Search/One Hundred Years of Solitude">One Hundred Years of Solitude</a></b></i>.</div></div> </div> <div class="mw-heading mw-heading3"><h3 id="Reading_curriculum">Reading curriculum</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=31" title="Edit section: Reading curriculum"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.oprah.com/oprahsbookclub/Synopsis-of-One-Hundred-Years-of-Solitude">Oprah's Book Club's Guide to <i>One Hundred Years of Solitude</i></a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170131162524/https://edsitement.neh.gov/curriculum-unit/magical-realism-one-hundred-years-solitude-common-core">Magical Realism in "One Hundred Years of Solitude"</a></li></ul> <div class="mw-heading mw-heading3"><h3 id="Lectures_and_recordings">Lectures and recordings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=One_Hundred_Years_of_Solitude&action=edit&section=32" title="Edit section: Lectures and recordings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture.html">"The Solitude of Latin America"</a>, Nobel lecture by Gabriel García Márquez, 8 December 1982</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160416051959/http://records.viu.ca/~johnstoi/introser/marquez.htm">"On Marquez's One Hundred Years of Solitude"</a> – a lecture by Ian Johnston</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGarcía_Márquez,_Gabriel1967" class="citation web cs1 cs1-prop-foreign-lang-source">García Márquez, Gabriel (1967). <a rel="nofollow" class="external text" href="http://sedici.unlp.edu.ar/handle/10915/32972">"Colombian writer Gabriel García Márquez reading the first chapter of One Hundred Years of Solitude"</a> (in Spanish).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Colombian+writer+Gabriel+Garc%C3%ADa+M%C3%A1rquez+reading+the+first+chapter+of+One+Hundred+Years+of+Solitude&rft.date=1967&rft.au=Garc%C3%ADa+M%C3%A1rquez%2C+Gabriel&rft_id=http%3A%2F%2Fsedici.unlp.edu.ar%2Fhandle%2F10915%2F32972&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOne+Hundred+Years+of+Solitude" class="Z3988"></span></li></ul> <div class="navbox-styles"><style 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href="/wiki/Category:Works_by_Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Category:Works by Gabriel García Márquez">Works</a> by <a href="/wiki/Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Gabriel García Márquez">Gabriel García Márquez</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Novels_by_Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Category:Novels by Gabriel García Márquez">Novels</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/In_Evil_Hour" title="In Evil Hour">In Evil Hour</a></i></li> <li><i><a class="mw-selflink selflink">One Hundred Years of Solitude</a></i></li> <li><i><a href="/wiki/The_Autumn_of_the_Patriarch" title="The Autumn of the Patriarch">The Autumn of the Patriarch</a></i></li> <li><i><a href="/wiki/Chronicle_of_a_Death_Foretold" title="Chronicle of a Death Foretold">Chronicle of a Death Foretold</a></i></li> <li><i><a href="/wiki/Love_in_the_Time_of_Cholera" title="Love in the Time of Cholera">Love in the Time of Cholera</a></i></li> <li><i><a href="/wiki/The_General_in_His_Labyrinth" title="The General in His Labyrinth">The General in His Labyrinth</a></i></li> <li><i><a href="/wiki/Of_Love_and_Other_Demons" title="Of Love and Other Demons">Of Love and Other Demons</a></i></li> <li><i><a href="/wiki/Memories_of_My_Melancholy_Whores" title="Memories of My Melancholy Whores">Memories of My Melancholy Whores</a></i></li> <li><i><a href="/wiki/Until_August" title="Until August">Until August</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Short_stories_by_Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Category:Short stories by Gabriel García Márquez">Short stories</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Leaf_Storm" title="Leaf Storm">Leaf Storm</a>"</li> <li>"<a href="/wiki/No_One_Writes_to_the_Colonel" title="No One Writes to the Colonel">No One Writes to the Colonel</a>"</li> <li>"<a href="/wiki/Big_Mama%27s_Funeral" title="Big Mama's Funeral">Big Mama's Funeral</a>"</li> <li>"<a href="/wiki/The_Incredible_and_Sad_Tale_of_Innocent_Er%C3%A9ndira_and_Her_Heartless_Grandmother" title="The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother">The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother</a>"</li> <li>"<a href="/wiki/Strange_Pilgrims" title="Strange Pilgrims">Strange Pilgrims</a>"</li> <li>"<a href="/wiki/A_Very_Old_Man_with_Enormous_Wings" title="A Very Old Man with Enormous Wings">A Very Old Man with Enormous Wings</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Books_by_Gabriel_Garc%C3%ADa_M%C3%A1rquez" title="Category:Books by Gabriel García Márquez">Non-fiction</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Story_of_a_Shipwrecked_Sailor" title="The Story of a Shipwrecked Sailor">The Story of a Shipwrecked Sailor</a></i></li> <li><i><a href="/wiki/Clandestine_in_Chile" title="Clandestine in Chile">Clandestine in Chile</a></i></li> <li><i><a href="/wiki/News_of_a_Kidnapping" title="News of a Kidnapping">News of a Kidnapping</a></i></li> <li><i><a href="/wiki/Living_to_Tell_the_Tale" title="Living to Tell the Tale">Living to Tell the Tale</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other works</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/El_a%C3%B1o_de_la_peste" title="El año de la peste">El año de la peste</a></i></li> <li><i><a href="/wiki/The_Solitude_of_Latin_America" title="The Solitude of Latin America">The Solitude of Latin America</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Miscellaneous</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Macondo" title="Macondo">Macondo</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q178869#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q178869#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q178869#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/308700240">VIAF</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4123253-7">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n85050375">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb11954721r">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb11954721r">BnF data</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/001295976">Japan</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an36545322">Australia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=aun2009536142&CON_LNG=ENG">Czech Republic</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://www.bncatalogo.cl/F?func=direct&local_base=red10&doc_number=000036223">Chile</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007587890805171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/02752552X">IdRef</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=One_Hundred_Years_of_Solitude&oldid=1258485480">https://en.wikipedia.org/w/index.php?title=One_Hundred_Years_of_Solitude&oldid=1258485480</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:1967_novels" title="Category:1967 novels">1967 novels</a></li><li><a href="/wiki/Category:20th-century_Colombian_novels" title="Category:20th-century Colombian novels">20th-century Colombian novels</a></li><li><a href="/wiki/Category:Colombian_magic_realism_novels" title="Category:Colombian magic realism novels">Colombian magic realism novels</a></li><li><a href="/wiki/Category:Family_saga_novels" title="Category:Family saga novels">Family saga novels</a></li><li><a href="/wiki/Category:Harper_%26_Row_books" title="Category:Harper & Row books">Harper & Row books</a></li><li><a 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