The way a writer delivers a story is just as important as the stories themselves in defining him or her as an author. Techniques, topics, and style all fall under the umbrella of writing style. Gabriel Garcia Marquez is not an exception to this. The categories described above can be used to better understand his work, which goes beyond the storyline. Marquez frequently employs intertextuality and suspense in his writing. Also, in his writing, Marquez seeks to transmit similar concepts to the audience through his characters. These themes include political brutality, human isolation, and the concept of time. Marquez's style is more difficult to pin down because he is well-known for changing his writing style from one book to the next. In spite of this, Magical Realism is undoubtedly evident in much of his literature. Analysing Marquez's writing reveals that he uses the same formulae in all of his books, short tales, and even journalistic articles.
Marquez has penned a slew of epic books that span decades or centuries and feature dozens or even hundreds of different characters. This sort of writing lends itself to the author adding allusions to better explain his work. Marquez does this through the use of intertextuality, a literary technique. Authors utilise the literary device of intertextuality to make allusions to other works of fiction (plays, films, and so on) or historical events (Palencia- Roth 34) Using intertextuality, writers may shed light on an incident or character in their novel and make things more understandable for the audience. A parody of what is being addressed may likewise be done using this approach (Palencia- Roth, 34).
General, limited, and autarchic intertextualities are the three most common forms of intertextualities. When an author mentions a work other than his own, he or she is engaging in general intertextuality (Palencia-Roth 34). Basically anything from the past, such as key events in history and well-known texts such as the Bible and Shakespeare's writing, is included in this category. An example of restricted intertextuality is when an author references something from a prior work, but only in a limited way (Palencia- Roth 34). Examples include characters from previous novels appearing in the author's most current works. Autarchic intertextuality is the last kind. Here, the author cites what he previously wrote in the same piece (Palencia- Roth 34). To understand what's going on now, an author may allude to anything that he previously discussed in the same piece of writing. The Autumn of the Patriarch has several instances of intertextuality.
Christopher Columbus is a figure that frequently appears in Marquez's work. Since the beginning of Latin American history, Columbus has been an integral part of the culture. In the absence of him, Latino culture would not exist in its current form today. Christopher Columbus has taken on mythic proportions among the inhabitants of Central and South America, where he is revered even more than in the United States (Palencia- Roth 41). The Admiral of the Ocean Sea, a character in The Autumn of the Patriarch, is modelled by Christopher Columbus. When the Patriarch looks out to sea, he sees three ships approaching that will have a significant influence on the plot (Palencia- Roth 43-44). Of course, the arrival of these ships reflects Columbus' original three ships in the Americas. As a result of utilising the perspective of the indigenous people, Garcia offers a fresh perspective on the narrative (Palencia- Roth: 46-47). Using intertextuality, Marquez may be joking about Christopher Columbus' entrance in this way. He's explaining it from a perspective that most people in the West aren't familiar with.
Ruben Dario is another figure used by Marquez in his intertextuality. Gabriel was a major admirer of Dario, a Latin American author (Palencia- Roth 48). It is clear throughout The Autumn of the Patriarch that Marquez is in love with Dario. Although Marquez does not directly quote Dario, he does exploit the "Dariano" location and tone to great effect (Palencia- Roth 48- 49). When Ruben Dario appears in The Autumn of the Patriarch, Marquez doesn't employ him as a character, but rather incorporates the real Ruben Dario into his fictitious universe. Dario is not only a character in the narrative, but a well-known and renowned author. In the streets, his writing is read aloud, and the Patriarch himself even invites him to a lavish event to celebrate it (Palencia- Roth 56- 57). Marquez is making a statement about how much he admires Dario with this move.
Julius Caesar is a superb example of intertextuality and a third character that Marquez mentions. The Patriarch's character is based on Caesar. The Patriarch includes Caesar without a doubt; Marquez drew on Plutarch and Suetonius' portrayals of Caesar when creating the Patriarch (Palencia- Roth 36- 39). Among their many similarities are the following: both strive to manipulate time, are plagued by visions of the future, are afflicted with sleeplessness, are well-known for their love lives, rule as if their word were law, and are always on the verge of being assassinated (Palencia- Roth 36). The Patriarch's resemblance to Julius Caesar's great ruler is clear, given these and other parallels.
Suspense is another tool used by Marquez to propel his works along. Nowadays, suspense is a popular kind of entertainment, so much so that it has formed its own subgenre within the cinema industry. As a way to keep his readers involved in the plot, Marquez employs suspense as a literary device.
Magic Realism is one of the few types of writing that Marquez employs frequently. They relate stories about the mysterious and mystical, but in a calm, factual manner. Everything happened as though there was nothing out of the ordinary (Harth 83). It was in the 1940s and '50s in Latin America that the style of Magical Realism first emerged. Authors such as Esteban Montejo were among the pioneers (Harth 85). Today, it's nearly a genre in and of itself. You may find it in movies, TV shows, and other types of entertainment all throughout the world (Harth 83). European artists, particularly those in Germany, have embraced magical realism as a style (Harth 84). This is a style that Marquez inherited from his grandma. Similarly to Marquez's literary style, his grandmother used to tell him tales of magic and imagination when he was a child (Harth 84). Marquez's location also had an impact on him. To some degree his surroundings were magically realism-friendly because of the region's unique blend of African diaspora culture and indigenous religious beliefs.
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