By Gabriel Garcia Marquez, Harold Bloom
Seeing that its booklet in 1967, 100 Years of Solitude has offered greater than 20 million copies and earned its writer, Gabriel García Márquez, a bunch of awards, together with the Nobel Prize for Literature in 1982. the radical has brought on comparisons to Miguel de Cervantes, William Faulkner, Virginia Woolf, or even the Bible. The variation of this severe quantity brings jointly full-length essays that discover the nuances of Márquez s fascinating fictive global of Macondo. This learn consultant comes whole with an introductory essay by means of grasp pupil Harold Bloom, notes at the individuals, and reference positive aspects equivalent to a chronology, bibliography, and index.
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Extra resources for One Hundred Years of Solitude (Bloom's Modern Critical Interpretations)
By the end of One Hundred Years of Solitude, apocalypse had become, perhaps for the first time in the history of the novel, just one more calamity on “this planet of misfortune” (211). When apocalypse does occur, García Márquez suggested, it will be pervaded, like so many events toward the end of One Hundred Years of Solitude, by a strange air of eternal repetition. It will be only the logical conclusion of the progress already brought by “advanced” ideas. ” That is, it can depict events strange enough, and oppressive enough, to make apocalypse appear not only credible but inevitable.
Nor had Wordsworth gone so far, though it seems clear that the question framed itself in his mind. 16 But perhaps the real opposition occurs between the individual mind and the prevailing culture. For not only did Don Quixote “fail” Wordsworth, but so did Cambridge and London and the French Revolution. His attempt to find a new text, in Godwin’s Political Justice, to cope with wide and deepening disillusionment also comes to naught. Wordsworth himself seems to put the mind against nature, but in view of the fact that nature alone seems to supply solace and lucidity in his life, we may with justice read this as a displacement, a masking synecdoche.
5 and 6 of From Behind the Veil). 14. Shades of Chinatown! 15. In this connection, see the chapter entitled “White City” in Alan Trachtenberg, The Incorporation of America (New York: Hill and Wang, 1982), 208–34. 16. Recent criticism offers striking perspectives on Wordsworth and history or politics: Kenneth Johnston, Wordsworth and “The Recluse” (New Haven and London: Yale University Press, 1984); Jerome McGann, The Romantic Ideology: A Critical Investigation (Chicago: University of Chicago Press, 1983), esp.