Gabriel Garcia Marquez’s novel, One Hundred Years of Solitude, is a novel often associated with magic realism. Throughout the novel, the idea of magic realism is promoted through intertext examples of The Bible. Magic realism is defined as an artistic style in which magical elements or irrational scenarios appear in an otherwise realistic or "normal" setting. The many intertextual examples throughout the work are alluded from outside sources such as the Bible and the tragedians of the Greeks and Romans. These allusions not only strengthen the novel, but further correlate them with the idea of magic realism.
Magic realism, as defined by Wendy Faris, contains five key elements which must be present for this component to ring true in a piece of literature. The first key element is the novel contains “…something we cannot explain according to the laws of the universe as we know them” (Faris 167). Throughout the novel, several examples which make this constituent true are present. For example, when Jose Arcadia Buendia’s murder occurs and his blood runs through the streets to Ursula’s home, Marquez writes, “A trickle of blood came out under the door, crossed the living room, went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed up curbs…”(Marquez 144). In reality, as readers, it is known that blood cannot travel long distances or climb objects. Remedios the Beauty’s accession to Heaven is another form in which a particular scene cannot be explained by particular laws as we know them. Marquez writes “Amaranta felt a mysterious trembling in the lace on her petticoats and she tried to grasp the sheet so that she would not fall down at the instant in which Remedios the Beauty began to rise” (Marquez 255). This sense of magic realism is a rare commodity in the norm.
The second element which makes magic realism present in a novel is the fact that descriptive details create a realistic world out of the [unparalleled] (Faris 169). This first become evident when Marquez writes about the manuscripts of Melquiades’. The relevant detail of the writings prevail a sense that the writing in fact, exist. The description of Macondo itself also brings about logic that this element is present in 100 Years of Solitude. Marquez writes, “At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point” (Marquez 11). As a reader, Marquez’s use of descriptive language demonstrates subsisting in Macondo is could be tolerable.
As a third characteristic of magic realism, the reader must “hesitate between two contradictory understandings of events—hence experiences some unsettling doubts” (Faris 171). The use of repeating characters’ names in every upcoming...