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74 pages 2 hours read

Gabriel García Márquez

One Hundred Years of Solitude

Fiction | Novel | Adult | Published in 1967

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Themes

The Nonlinearity of Time

Major elements of this book have a non-chronological relationship to time. Time is fluid, and events that occurred at different points in time collapse in on one another. Events are frequently narrated out of order, and those attempting to keep a close eye on precisely the time often fail.

Within individual chapters, the most significant events are usually established early or narrated first, ranking them in order of importance rather than in chronological order. To stack the text in order of importance is to create an unstable relationship between time and memory. For example, in the chapter dedicated largely to the marital disagreement between Fernanda and Aureliano Segundo, the first event narrated is the long-term rainstorm. Instead of narrating the chapter chronologically—first the argument, then the rain, then the cessation of rain—events are narrated in descending order of importance. This effect can be disorienting, as past, present, and future intertwine.

Both the character Melquíades and his workshop appear to exist apart from time. After Melquíades dies, his workshop does not age or decay, like the body of a saint. José Arcadio Segundo and the little Aureliano describe their perception of time in the workshop as though "it was always March there and always Monday" (348). The physical space of the workshop is out of temporal sync with the other rooms in the Buendía house. Time is described as though it sometimes "stumbles and had accidents" (348). The workshop’s relationship to time is not linear.

Though Melquíades’s workshop stays eerily the same after his death, the members of the Buendía family do not. Although a few characters live quite long—Úrsula until she is over 100 years old—all of the characters eventually die. Members of the Buendía family themselves are not stuck in time. Like any other person, they grow old, fade, and eventually die. Even though time may not be linear, all of the characters succumb to death. The apocalyptic winds that destroy Macondo also put an end to time, placing the power of fate above logic.

The Legacy of the Buendía Family

The Buendía family has a legacy in Macondo. Over time, they are well regarded for being one of the founding families. The earliest generation of Buendías—especially José Arcadio Buendía and Úrsula Iguarán—takes pride in both their family unit and in the legacy they create. Over time, each generation builds up the family in preparation for the future. For the most part, the parents want the best possible life for their children, and the children want their parents to be comfortable as they age. Though they take care of other as best they can, the family itself is only as strong as the individuals, and over time, the flaws of the members of the Buendía family bring its demise.

Once those who believe most strongly in the Buendía family die, the family itself begins to fall apart. For example, Úrsula holds fast in her later years to the control she has over Aureliano Segundo, Santa Sofía de Piedad, and the children José Arcadio, Aureliano, and Amaranta Úrsula. She raises them as she would her own children, even though she is elderly, and they are quite young. After Úrsula dies (342), the family unit weakens to the point of decay. Santa Sofía de Piedad keeps the household orderly and tidy for most of her life. In her later years, she disappears entirely, after which the house itself falls into disarray. Rather than being a single upstanding family unit, the members of the Buendía house who are left behind act like individuals who simply happen to have some interests in common.

A clear marker of the difference between the intended legacy of earlier generations and the true legacy of later generations is the treatment of the physical house itself. Though the elder women of the house keep it clean and tidy, the fourth- and fifth-generation Buendías barely clean the rooms they use every day, let alone those they do not inhabit. They let the forces of nature overtake the house as they attend to other things, primarily their sexual relationships. They do not think of themselves as a dynasty, nor do they consider the continuation of the family line. For example, when Amaranta Úrsula moves back into the family house in Macondo, she tries temporarily to keep a few rooms habitable, but she soon becomes overwhelmed. Instead, she and Aureliano inhabit only a couple of rooms as they let the rest of the house fall apart. They neither strive for nor do they celebrate the Buendía family legacy—instead, they have passionate sex and avoid going outside in public (405). The birth of the fifth-generation Buendía child with a pig’s tail brings the family dynasty to a close, ending it with incest, just as it began.

Predictive Omens

Throughout the book, omens and signs dictate characters’ behaviors. These omens represent fate. Thematically, the omens in the text concern whether any one character truly has free will and the ability to make decisions that do not have known outcomes. Omens, especially regarding travel, violence, and death, guide behavior and choices. Overall, characters appear to view the results of omens as inevitable. When the insomnia plague strikes the town of Macondo in Chapter 3, many citizens forget the names of objects and events from the past. Pilar helps combat the plague not by predicting the future but by predicting how individuals reacted to the past. She "conceived the trick of reading the past in cards as she had read the future before" (47). Using the tarot cards to foretell the future changes the way that the people behave, raising the question of whether suggestions about the future become self-fulfilling once they are known, or whether fate exists regardless of individuals’ prior knowledge of it.

Pilar foresees slivers of the future through direct omens and also through the reading of tarot cards. Though several members of the Buendía family come directly to her with their questions, she sometimes intuits outcomes without being asked. Her personal history is threaded through the history of the Buendía family. She is so close to them that she can predict life events or characteristics without needing the aid of the cards. She is a female seer, a character parallel to Melquíades. Each seer affects the fate of the Buendía family in different ways.

With her omens, Pilar spontaneously foreshadows what might happen to specific characters. When Amaranta receives an omen of death from a woman in a blue dress who resembles Pilar (278), the inevitability of her own imminent demise calms her. Instead of feeling panic, she prepares for the rites of death. The omen gives her comfort and strength as she weaves her own shroud, settles her affairs, and has herself measured for a coffin. She also chooses a specific outfit to wear at the time of her death. Instead of fighting the omen or disbelieving it, she takes it as truth and acts accordingly.

The narrative structure of the book overall is based thematically on the writing of Melquíades. Although his omens and prophecies about family events are revealed only in the final chapter, he wrote down everything that would happen to the Buendía family long before it occurred. His encoded writings suggest that one does not have to know about one’s fate beforehand for it to come to pass. Unlike Pilar, who directly tells characters their fate, Melquíades makes his predictions almost impossible to uncover. The writings act more as a confirmation of preordained events than as prophecies foretelling the future.

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