INTRODUCTION TO MARQUEZ

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Latin American literature till the threshold of 1th century was principally based on Iberian models. The contemporary scene begins around the year 140. The Spanish Civil War (16-1) and the unequal fratricide made a tremor in the Latin American minds. As a consequence the reading materials from Spain were cut short. The liberal intellectuals of Spain migrated to the continent. It was not merely a voyage to rediscover the roots. By the hands of the Boom writers Latin Americans became the producers of literature. They were considered as customers in the past.

Marquez believes that any novel has the spirit to unravel the world. Then a good novel becomes a poetic transcript of reality. Good novel must be a poetic transposition of reality (Apuleyo Mendoza 7). In the world of his novels the real and fantastic merge the anachronistic and contemporaneous fuse and co-exist and ultimately the narration moves forward and backward. His novels are the poetic transcriptions of Colombia in particular and Latin America in general, where the impact of modernity and technological advance has not yet swept away the hard and simple way of living. They still believe in magic and miracle. The Latin Americans accepted death and destruction, war and violence, horror and cruelty, the gruesome and squalid, and the absolute power of bloodthirsty dictators as factors of life.

Our great problem is the search for identity, we havent found it yet (Larmer et al. 44-45), once he remarked. This perennial problem haunts the lion share of his novels. In One Hundred Years of Solitude, Melquiades, the gypsy, introduces the dazzling world of science and technology to Macondo. Jose Arcadio Buendia applied the mystified science of Melquiades in real life situation. He unearths a colonial coin and calcified skeleton. His search for identity is multi dimensional. He digs the past and he gets colonial remains.

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The theme of revolutions has been reiterated in is novels. Latin America has a history smeared with blood. Many dictators quenched their power thirst by massacre. The report of Amnesty International (in March 17) said that sixty two percent of worlds political tortures took place in Latin America. And this devilish brutality has been depicted in many novels. In the Autumn of the Patriarch Marquez shows the patriarch ruling Latin America for 150 years. Reality and fantasy hobnob with each other and truth becomes as powerful as the truth of fable, where everything is far away from reality. It is a novel of social and political protest. Violence and poetry, magic and realism heighten the effect.

Politics and prose are entwined in his novels. Marquez, it seems, is driven by a sublime mission, the political, social and cultural integration of Latin America, a continent forever crippled by its internal divisions. It was the ideal of Simon Bolivar (whose last days were depicted in the novel The General in His Labyrinth (10). Marquez once made it explicitly clear. For me what is fundamental is the ideology of Bolivar; the unity of Latin America that is the only cause Id die for.

In so far as apprehended only a few has conducted extensive studies in the writings of G.G. Marquez. In the new world with accelerated interest on the trans-continental writings, I think my work will expand the horizon of our knowledge in Marquez and it will throw light on the shrouded Colombian literary arena.

Many writers were baffled with history, and some of their attempts in connecting history with literature failed. History is believed to be logical, reasonable, rational and conventionally founded upon what is termed, matter of facts. Historians' texts were believed to be objective, comprehensive, and founded upon concrete realities.

Fiction is, fundamentally speaking, a product of mans imaginative world in which the reasonable, rational and logical mind is at rest. But serious artists who work after getting influenced by history could not escape from the labyrinth of realities.

My perusal focuses on this feature. To be specific how far Marquez succeeded in identifying history as his treasury to formulate some of his key themes. Here, Marquez was infatuated with history and achieved a towering success in creating a symbiotic relationship between history and fiction.

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