An essay on Gabriel Garcia Marquez
By Robert Kiely
To speak of a land of enchantment, even in reference to a contemporary novel, is to conjure up images of elves, moonbeams and slippery mountains. Along with the midgets and fairies, one can expect marvelous feats and moral portents, but not much humor and almost certainly no sex. The idea, it would seem, is to forget the earth. At least that is one idea of enchantment.
It is obviously not shared by the Colombian novelist Gabriel García Márquez, who has created in One Hundred Years of Solitude an enchanted place that does everything but cloy. Macondo oozes, reeks and burns even when it is most tantalizing and entertaining. It is a place flooded with lies and liars and yet it spills over with reality. Lovers in this novel can idealize each other into bodiless spirits, howl with pleasure in their hammocks or, as in one case, smear themselves with peach jam and roll naked on the front porch. The hero can lead a Quixotic expedition across the jungle, but although his goal is never reached, the language describing his quest is pungent with life:
“The men on the expedition felt overwhelmed by their most ancient memories in that paradise of dampness and silence, going back to before original sin, as their boots sank into pools of steaming oil and their machetes destroyed bloody lilies and golden salamanders. For a week, almost without speaking, they went ahead like sleepwalkers through a universe of
