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Cent'anni di solitudine by Garbiel Garcia…

Cent'anni di solitudine (original 1967; edition 1995)

by Garbiel Garcia Marquez

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29,93541530 (4.21)1 / 653
Title:Cent'anni di solitudine
Authors:Garbiel Garcia Marquez
Info:Mondadori Printing (1995), Perfect Paperback, 405 pages
Collections:Your library, Favorites

Work details

One Hundred Years of Solitude by Gabriel García Márquez (1967)

  1. 302
    The House of the Spirits by Isabel Allende (chrisharpe, roby72, krizia_lazaro, browner56)
    browner56: Superb multi-generational sagas of two South American families, told in the magic realism style
  2. 141
    The Master and Margarita by Mikhail Bulgakov (Mouseear)
  3. 61
    The Deptford Trilogy by Robertson Davies (Gayle_C._Bull)
  4. 50
    The Feast of the Goat by Mario Vargas Llosa (mcenroeucsb)
  5. 52
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  6. 41
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  7. 31
    Pedro Páramo by Juan Rulfo (hippietrail)
  8. 10
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  9. 43
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  10. 65
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  11. 10
    The Devil to Pay in the Backlands by Joao Guimaraes Rosa (roby72)
  12. 10
    Purgatory by Tomás Eloy Martínez (philosojerk)
    philosojerk: I found Martinez's style in Purgatory very reminiscent of Marquez's in One Hundred Years. If you enjoyed one of them, you would probably enjoy the other.
  13. 21
    The Adventures and Misadventures of Maqroll by Alvaro Mutis (chrisharpe)
  14. 11
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  15. 00
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  16. 22
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  17. 11
    Little, Big by John Crowley (britchey)
    britchey: By interweaving magic and the real, both stories tell a multi-generational family epic about birth, death, and destiny.
  18. 00
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  19. 11
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  20. 77
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(see all 29 recommendations)

1960s (55)
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English (337)  Spanish (53)  Dutch (6)  French (5)  Italian (4)  Portuguese (Portugal) (3)  Portuguese (Brazil) (2)  Portuguese (2)  Hungarian (1)  Hebrew (1)  All languages (414)
Showing 1-5 of 337 (next | show all)
5 out of 5 stars. Definitely a book well worth reading. I started it not knowing what to expect, except for the fact that someone told me: 'Good Luck. Everyone in that story has the same name.' And, well, they weren't kidding. It takes a while to get used to the storytelling in Márquez's book, but once you get past it, then it's totally worth it.

One Hundred Years of Solitude tells the story of humanity on a microscopic scale. In particular, we read about the seven generations of the Buendía family, and how their actions, personalities, and predicaments all seem to repeat itself over and over again. In a sense, that's the reason why they all have the same names. Time doesn't exactly flow linearly within the book, but rather it folds up on itself. It's up to us, as logical humans, to try to decipher it and lay it out on a timeline.

There is also the line that is drawn between what is reality and scientific, and what is fantasy and faith. Things like seeing ghosts and Remdios the Beauty flying into the air to signify her ascension to heaven are taken as fact, whereas the introduction of the train, which is just a giant kitchen pulling all sorts of contraptions, or the movie theater, a show of false emotions, are examples of this topsy turvy line. And as the all knowing reader, we must take everything for fact. Why? Because, just like in our everyday lives, truth is stranger than fiction. Sometimes a little too strange.

[b:One Hundred Years of Solitude|320|One Hundred Years of Solitude|Gabriel García Márquez|http://photo.goodreads.com/books/1255666245s/320.jpg|3295655] acts as an epic, reminiscent of [a:Homer|903|Homer|http://photo.goodreads.com/authors/1192834024p2/903.jpg]'s [b:The Odyssey|1381|The Odyssey (Penguin Classics)|Homer|http://photo.goodreads.com/books/1158208330s/1381.jpg|3356006] and other long tales. But here, we get a ride that lets us experience the lives of seven generations. In a sense, it's like experiencing all of humanity. We will continue to make the same choices and mistakes as our predecessors, which will only be ended by the storm of the apocalypse.

Maybe Nostradamus has predicted all of it that we have done, and will do, right to the very end? ( )
  jms001 | Jun 14, 2015 |
The Buendia saga for a hundred years is challenging coz . ..I cannot remember who is whose sons,grandfather, aunt. ..Nonetheless an interesting story which is spiced by gypsy enchantment.
i do like and agree with Gabriel Garcia Marquez's (author) theme on uniting passion & madness which runs thru the Buendia family. I like the way author expressed strong emotions such as disappointments expressed by the first in line, Jose Arcadio Buendia and his son, Colonel Aureliono in the story. I also like the sheer will and strength by two women in the story -Ursula who hold the family together and the kind and gentle Pilar Ternera. ( )
  moonfleur | May 23, 2015 |
Um romance certamente envolvente, à base do "realismo mágico" inaugurado, entre outros, pelo alemão Gunter Grass. Li-o em não mais de 2 ou 3 dias. Mas, não sendo um fã total do gênero realismo-fantástico, acabei algo decepcionado com esta clássica saga familiar multi-gerações. Talvez a alta legibilidade (tipo "prosa pura") seja parte do problema. A maioria dos aspectos anedóticos, inclusive personagens, ideias e sentimentos, é super-mastigada, sem maiores mistérios. Como Game of Thrones, este livro é difícil de seguir por causa do excesso de nomes e sobrenomes semelhantes na árvore genealógica. Eles aparecem a intervalos regulares em cada diferente geração. Uma leitura, no geral, simpática, mas dificilmente encantadora. ( )
  jgcorrea | Apr 24, 2015 |
The story follows the Buendía family and their lives in the fictional South American town of Macando, where fathers and sons, mothers and daughters face fate, broken hearts, civil war, household ghosts, betrayal, storms, droughts, hunger, and other misfortunes. I kind of dug the magical realism of the story with alchemy, most ghosts, family members who predict their own deaths, superhuman feats, and other wonders.

I feel like I should have liked this one more than I did, based on how many other people I know love it. *sigh* I struggled a lot, especially in the first half of the book. Though, the writing style was beautiful, there were so many family members and so many events both past and present being jumped back and forth between that it was almost too much. I didn’t know what or whom to focus on and I didn’t like any of the family members, which made it hard to give them sympathy.

The only character I liked was Ursula, who maintained herself as a grounding element among her flighty children and grandchildren, trying her best to anchor them morally and physically in the world, and standing up to them when they do wrong. She actively worked to keep the home and its inhabitants alive, continuing the effort even as they marched toward their own destruction.

It’s a very fatalistic novel, which is not really my thing (though I’ve read and loved bleak novels before). I did get into it more toward the end, but ultimately didn’t love it. ( )
  andreablythe | Apr 23, 2015 |
I can see why this book is a classic, and I think it is worth reading. Its portrayal of Latin American history and seamless incorporation of magical realism clearly inspired two threads of literary fiction. However, it was not an enjoyable read for me. I found it uninspiring that this classic of the non-western canon is built on the backs of female caricatures who serve exclusively to reinforce stereotypes. In the beginning of the book, I forgave the caricature of Ursula as perhaps something that would be targeted or addressed later. There are seven generations featured in this novel, after all. But it simply continued unabated, no progression, throughout.

More of a book to appreciate than enjoy.
  sparemethecensor | Apr 11, 2015 |
Showing 1-5 of 337 (next | show all)
... I’m not doing it because I want to create an escapist novel. I’m doing it because I want to describe life more accurately.

Fantasy stories convey truth without needing to be grounded in the reality of this world. They have holistic, logical systems and realities that affect every aspect of their separate universes. They can describe things that never were and never will be on the earth, without direct attachments to the readers’ everyday existence, while human and universal truths come through. On the other hand, magical realism by definition remains tethered to the “real” workings of this universe. I believe sometimes just a touch of the magical can make a story more applicable to a reader’s everyday existence than it would be otherwise.

One classic example is in my favorite novel of all time, One Hundred Years of Solitude, where Gabriel Garcia Marquez describes a village stricken by “the insomnia plague.” This mass sleeplessness eventually affects the peoples’ memories. One man realizes he will soon no longer be able to function without help. He puts signs on everything to remind him what they are. Others do it too, and soon the signs are everywhere.

After a while the people realize knowing what to call a thing does not mean one knows what to do with it. They begin to add instructions to the signs. A cow is for milking, and milk is for putting into coffee, and etcetera. At one end of their town, they even erect a sign which says, GOD EXISTS.

Finally into this “quicksand of forgetfulness” comes a gypsy with “a drink of a gentle color.” When that cure takes hold, one healed man’s “eyes became moist from weeping even before he noticed himself in an absurd living room where objects were labeled and before he was ashamed of the solemn nonsense written on the walls . . .”

None of this is technically impossible of course, therefore it is not “fantasy” in the literary sense. It is only highly, extremely, vastly improbable; so completely unlikely to happen that we must at least call it “magical.” Yet Garcia Marquez wrings so much common sense from it, one cannot help but wonder if this “insomnia plague” might be something he has actually witnessed in the world—something not merely magical, but somehow also real.

Perhaps Garcia Marquez (the world’s best known author of “magical realism”) has simply written about life as it really is for the millions who are driven to mass insanity by labor on the treadmill of materialism, exhausted to the point of forgetting why they started running in the first place, yet goaded to keep at it by the omnipresent advertisements which remind them they need this thing and that thing in order to continue to forget who they really are.

I write magical realism because some fires do burn in the midst of floods (think of hope when all seems lost), and all cures are essentially mysterious (I can’t explain aspirin), and angels do occasionally intervene (according to the beggars in Mother Theresa’s Calcutta), and there are moments in the midst of work when artists sometimes fly (just ask one if you don’t believe).

In other words, I write magical realism because most of us need to get a little distance from our lives to see them as they really are.

[García Márquez] creates a continuum, a web of connections and relationships. However bizarre or grotesque some particulars may be, the larger effect is one of great gusto and good humor and, even more, of sanity and compassion. The author seems to be letting his people half-dream and half-remember their own story and what is best, he is wise enough not to offer excuses for the way they do it. No excuse is really necessary. For Macondo is no never-never land. Its inhabitants do suffer, grow old and die, but in their own way.

» Add other authors (31 possible)

Author nameRoleType of authorWork?Status
García Márquez, Gabrielprimary authorall editionsconfirmed
Broek, C.A.G. van denTranslatorsecondary authorsome editionsconfirmed
Cicogna, EnricoTranslatorsecondary authorsome editionsconfirmed
Packer, NeilIllustratorsecondary authorsome editionsconfirmed
Rabassa, GregoryTranslatorsecondary authorsome editionsconfirmed
Rossi, MattiTranslatorsecondary authorsome editionsconfirmed
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First words
Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
Muchos años después, frente al pelotón de fusilamiento, el coronel Aureliano Buendía había de recordar aquella tarde remota en que su padre lo llevó a conocer el hielo.
Много години по-късно, пред взвода за разстрел, полковник Аурелиано Буендия щеше да си спомни онзи далечен подиробед, когато баща му го заведе да види леда.
(Chinese, Taiwan, Traditional script)
Mnogo će se godina kasnije, pred streljačkim vodom, pukovnik Aureliano Buendía sjetiti tog davnog poslijepodneva kada ga je otac poveo da upozna led.
"[Y]ou'd be good in a war," she said. "Where you put your eye, you put your bullet."
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Melquiades warns,
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beware of the ants. (leahdawn)

Amazon.com Amazon.com Review (ISBN 0060883286, Paperback)

"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice."

It is typical of Gabriel García Márquez that it will be many pages before his narrative circles back to the ice, and many chapters before the hero of One Hundred Years of Solitude, Buendía, stands before the firing squad. In between, he recounts such wonders as an entire town struck with insomnia, a woman who ascends to heaven while hanging laundry, and a suicide that defies the laws of physics:

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 over curbs, passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the Buendía house, went in under the closed door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed without being seen under Amaranta's chair as she gave an arithmetic lesson to Aureliano José, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread.
"Holy Mother of God!" Úrsula shouted.

The story follows 100 years in the life of Macondo, a village founded by José Arcadio Buendía and occupied by descendants all sporting variations on their progenitor's name: his sons, José Arcadio and Aureliano, and grandsons, Aureliano José, Aureliano Segundo, and José Arcadio Segundo. Then there are the women--the two Úrsulas, a handful of Remedios, Fernanda, and Pilar--who struggle to remain grounded even as their menfolk build castles in the air. If it is possible for a novel to be highly comic and deeply tragic at the same time, then One Hundred Years of Solitude does the trick. Civil war rages throughout, hearts break, dreams shatter, and lives are lost, yet the effect is literary pentimento, with sorrow's outlines bleeding through the vibrant colors of García Márquez's magical realism. Consider, for example, the ghost of Prudencio Aguilar, whom José Arcadio Buendía has killed in a fight. So lonely is the man's shade that it haunts Buendía's house, searching anxiously for water with which to clean its wound. Buendía's wife, Úrsula, is so moved that "the next time she saw the dead man uncovering the pots on the stove she understood what he was looking for, and from then on she placed water jugs all about the house."

With One Hundred Years of Solitude Gabriel García Márquez introduced Latin American literature to a world-wide readership. Translated into more than two dozen languages, his brilliant novel of love and loss in Macondo stands at the apex of 20th-century literature. --Alix Wilber

(retrieved from Amazon Thu, 12 Mar 2015 18:21:14 -0400)

(see all 10 descriptions)

Tells the story of the Buendia family, set against the background of the evolution and eventual decadence of a small South American town.

(summary from another edition)

» see all 11 descriptions

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4 editions of this book were published by Penguin Australia.

Editions: 014118499X, 014103243X, 0141045639, 0141194944

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