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No port will allow them to dock because of the supposed cholera outbreak aboard, and they areforever exiled to cruise the river.Magical Realism and the Colombian History:‘Magic realism’ is chiefly a Latin-American narrative style. It is characterized by the matter-of-fact inclusions of fantastic or mythical elements into apparently realistic fiction. Although thisstyle is known in the literature of many cultures for many ages, the term ‘magic realism’ is arelatively recent one, first applied in the 1940s by Cuban novelist Alejo Carpentier. Manyscholars argue that magic realism is a natural outcome of postcolonial writing, which must makesense of at least two separate realities—the reality of the conquerors as well as that of the
conquered. So, features of postcolonial socio-economic set up are quite common to find out inmagic realism.Prominent among the Latin-American magic realists are the Colombian Gabriel Garcia Marquez.Marquez’s childhood contributed profusely in the use of magic realism in his novels, especially,in One Hundred Years of Solitude. Gabriel Garcia Marquez asserts that there’s not a single line inhis novels which is not based on reality. He says in a conversation with his friend Plinio ApuleyoMendoza (an interview, later published as The Fragrance of Guava):I was brought up by a grandmother and numerous aunts who all showered me with attention, andby maids who gave me many very happy childhood moments because their prejudices, while notfewer than those of the women in the family, were at least different. The woman who taught meto read was very beautiful and graceful and I used to like going to school just so I could see her.[Women] find their way more easily, with fewer navigational aids. . . . They make me feelsecure.Apart from his colorful childhood memories, Marquez is hugely indebted to the socio-politicalhistory of Colombia for his magnificent samples of magic realism in One Hundred Years ofSolitude. For example, the civil war between the Liberals and the Conservatives in the storydirectly echoes events similar to the historical events of Colombia. Michael Wood, in his bookGabriel Garcia Marquez: One Hundred Years of Solitude, says, “Colombia has a long radition ofdemocracy. The Liberals and the Conservatives, who dominated nineteenth and most oftwentieth century politics, stood for quite different things – reform or reaction, free trade orprotection, separation or conjunction of church and state; and slowly turned into a rather narrowband of class interests”.We can say a huge extent of Colombian history gets into One Hundred Years of Solitude: thearguments over reform in the 19th century, the arrival of the railway, the War of the ThousandDays, the American fruit company, the cinema, the automobile, and the massacre of strikingplantation workers in 1928. The most striking fact of modern Colombian history, known simplyas the Violence, gets indirect expression in One Hundred Years of Solitude through guerillas,gangsters, self-defence groups, the police, the army, and the death of some 200,000 people. Even