John S. Christie mentions Gabriel García Márquez in his discussion of magical realism and the Latin American Boom in literature, which he states was "brought on by the unparalleled success of Gabriel García Márquez's One Hundred Years of Solitude."
"Drawing upon the author's experiences of growing up white and gay in apartheid South Africa, this collection of personal essays explores themes of kitsch, displacement, love, sexuality, and forgiveness. A central question posed by the work is whether virtues such as love and forgiveness are worth the cost they frequently exact. These costs include, but are not limited to, denial of the self and individual perception in order to make possible a sense of profound union with other persons. In the end the dissertation concludes that it is best to accept a level of permanent and irrevocable yearning for connection and healing which human life will never entirely fulfill." Gabriel García Márquez is mentioned in the dissertation.
Read discusses Bucheli's Bananas and Business and the negative reputation the United Fruit Company has. He states that "This interpretation came early to Colombian critics after a 1928 massacre of striking workers left hundreds, maybe thousands, dead. Gabriel García Márquez exaggerated the details of this violence for One Hundred Years of Solitude, and few others have believed the company did more good than harm."
"This dissertation argues that the recourse to romance in post-realist New World writing was accomplished by a reconceptualization of the figure of the author. While it is true that American romance in its first incarnation exemplified the generic norms of romance, this dissertation focuses on a later generation of romancers, self-consciously writing against realism in an attempt to return to romance. I dub this movement 'New World Romance' and hold that its primary innovation was to replace the traditional plot of romance of voyage, return, and heterosexual union with a meta-textual plot that concerns the attempted but failed return to the generic 'innocence' of traditional romance after the collapse of realism. In the process of writing back to romance, the writer sheds the figural trappings of the realist author and adopts a new identity... Finally, in Cien años de soledad Gabriel García Márquez re-imagines the encounter between reader and text as the encounter between Echo and Narcissus. Arrogating upon himself the authority to condemn the reader to perpetual longing, García Márquez becomes a kind of deity, thereby adopting a role as author that reaches beyond realism, beyond romanticism to the very origins of literature in myth and romance."
Barranquilla Colombia : Fundación Cultural Nueva Música: La Iguana Ciega
Location:
Library, University of Illinois
Notes:
Gabriel García Márquez is mentioned various times through out the book, specifically on pages 17, 24, 69, 70, 76, 82, 91, 92, 94, 98, 102, and 110-114.
This article reviews the book "Look Away! The U.S. South in New world Studies" edited by Jon Smith and Demorah Cohn. On page 1202 the author states "Smith and Cohn insist on refuting García Márquez's assimilation of the U.S. South into the Caribbean, arguing for the insoluble differences of the two spaces (7); Handley reminds us of how little we actually know of the historical traumas that underwrite such claims in the first place."
Scarpaci describes recent changes in viewpoints in Cuban film. He focuses on the underlying satire and criticism that films use to portray Cuban culture, Socialism, bureaucracy, etc.. Scarpaci examines that a particular filmmaker,Fernando Pérez, has a magical realist undertone similar to García Márquez's work.