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Sadan vuoden yksinäisyys by Gabriel…

Sadan vuoden yksinäisyys (original 1967; edition 1995)

by Gabriel García Márquez, Matti Rossi

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30,11141929 (4.21)1 / 659
Title:Sadan vuoden yksinäisyys
Authors:Gabriel García Márquez
Other authors:Matti Rossi
Info:Porvoo ; Helsinki ; Juva WSOY 1995
Collections:Your library

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
    Midnight's Children by Salman Rushdie (Nickelini)
  6. 41
    The Famished Road by Ben Okri (Medellia)
  7. 53
    Like Water for Chocolate by Laura Esquivel (Aturuxo)
  8. 75
    Don Quixote by Miguel de Cervantes Saavedra (caflores)
  9. 31
    Pedro Páramo by Juan Rulfo (hippietrail)
  10. 10
    Aunt Julia and the Scriptwriter by Mario Vargas Llosa (SilentInAWay)
  11. 21
    The Adventures and Misadventures of Maqroll by Alvaro Mutis (chrisharpe)
  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. 10
    The Devil to Pay in the Backlands by Joao Guimaraes Rosa (roby72)
  14. 11
    La saga/fuga de J.B. by Gonzalo Torrente Ballester (Aturuxo)
  15. 00
    The Wind-Up Bird Chronicle by Haruki Murakami (eromsted)
  16. 22
    Dona Flor and Her Two Husbands by Jorge Amado (hubertguillaud)
  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
    Primeval and Other Times by Olga Tokarczuk (MaidMeri)
  19. 11
    Lovesick by Angeles Mastretta (chrisharpe)
  20. 77
    The Shadow of the Wind by Carlos Ruiz Zafón (derelicious)

(see all 29 recommendations)

1960s (55)
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English (341)  Spanish (53)  Dutch (6)  French (5)  Italian (4)  Portuguese (Portugal) (3)  Portuguese (Brazil) (2)  Portuguese (2)  Hungarian (1)  Hebrew (1)  All languages (418)
Showing 1-5 of 341 (next | show all)
I entered this book with minimal understanding of magical realism. Parts of the implementation of magical realism were amusing, such as the yellow butterflies connected with Mauricio Babilonia. Parts of the implementation were annoying in their implausibility, such as the ascension of Remedios the Beautiful and the indelible ashes connected to the seventeen Aurelianos. It seems that I prefer a lighter version of magical realism, with more of an emphasis on the realism aspect.

The "solitude" aspect of this book was interesting. It seems to be an isolation that is not so much physical as fate-based. Melquiades is the key to understanding this isolated fate.

I wondered in general what point this book was trying to make. Incest and doom seemed to be common and unenjoyable topics. One truth presented was that politics caused huge negative changes in the lives of the whole community and these negative effects were present whether the more Liberal or more Conservative group was in charge. Additionally, horrible behavior happened during the war and it changed characters in ways that continued after the war.

It was good to read a book that is so different from what I would normally read, but apparently even the skilled use of magical realism didn't really work for me. This book can be recommended as something that is truly unique. ( )
  karmiel | Aug 21, 2015 |
Wow, is this ever a long book. There isn't much of a plot - it's more like a collection of connected anecdotes about several generations of the Buendía family, the men of which all have more or less the same name. I was going to give some examples of interesting parts, but I'm having trouble thinking of any. Some of José Arcadio Buendía's experiments at the beginning were kind of cool, I guess, and the weirdness surrounding Colonel Aureliano Buendía's many progeny, but I felt like I spent most of the book waiting to get to the good bit. I probably would have gotten more out of it if I knew anything (at all) about Colombian history, or if I was a bigger fan of magical realism (which I didn't know this was before reading it). Mostly I'm just glad to be able to check this book off my list of books I feel like I should have read. I'm also glad I listened to it on audio with a fantastic reader - I doubt I would have made it to the end otherwise. ( )
  melydia | Aug 18, 2015 |
Demorei 20 anos a sair de Macondo, depois de aí ter entrado em 1995, voltei lá por mais três vezes, tendo só agora, no início de 2015, terminado a viagem. De cada vez que tentava voltar à leitura aquilo que me afastava era o seu lado mágico-fantástico, o exagero de feitos e capacidades, que me retiravam da crença. No final da leitura, e depois de me ter obrigado a ler até meio, momento em que o discurso começou a ganhar solidez e a crença voltou a surgir, o discurso não só faz sentido como assume a essência da singularidade do discurso de Gabriel Garcia Márquez.

“Cem Anos de Solidão” é uma obra-prima porque não poderão ler algo igual em mais lado nenhum. Márquez criou um trabalho singular e poderosamente criativo, através de uma escrita absolutamente vertiginosa pelo ritmo que imprime, suportado por uma torrente constante de personagens, eventos e factos, na sua maioria fantásticos mas sempre a tentar puxar à verosimilidade. Aliás é esse ritmo e volume de informação que torna o livro difícil, porque não é humanamente possível reter tudo o que vai acontecendo, a não ser que nos detenhamos de papel e lápis, mas é esse ritmo que impregna a forma do discurso e contribui para a construção do sentir daquilo que Márquez pretende expressar.

"Melquíades não tinha ordenado os factos no tempo convencional dos homens, mas concentrou um século de episódios quotidianos, de modo que todos coexistiram num mesmo instante"

“Cem Anos de Solidão” acaba por emergir da paisagem literária por ser capaz de retratar de forma lancinante o âmago da experiência de vida latina, ou seja um sentir caótico orgânico interminável e irrepetível. É tudo isto que Marquez consegue dar-nos a sentir sem nunca ter de o dizer, apenas relatando o que vê, através da sua peculiar forma de ver. Aliás essa é uma das enormes conquistas deste livro, conseguir dar-nos a experienciar tanto do interior dos personagens, sem nunca os colocar a falar, sem nunca nos mostrar o seu interior, toda a descrição é realizada sobre acções externas sobre o mundo, mas porque é feita em termos mágico-fantásticos permitem-nos um acesso muito mais profundo ao interior de cada um dos personagens. Acaba sendo paradoxal, um livro que trabalha sempre o mundo externo e no entanto praticamente impossível de adaptar ao cinema, isto porque o mundo descrito - as acções, pessoas, eventos, factos - apresentados não são nunca o real comum, mas um real próprio criado por Márquez, como se ele fosse dotado de uma capacidade especial de ver o mundo.

Enquanto português, e sendo latino, consigo aceder a um vislumbre das metáforas históricas que trespassam todo o livro, tal como a maioria dos restantes latinos, contudo acredito que o livro seja capaz de ir além em camadas de leitura para quem conheça de perto a história da Colômbia. Nesse sentido, é um livro que ganhará bastante com novas leituras, e com leituras mais informadas sobre a Colômbia, assim como sobre a vida de Gabriel Garcia Márquez que não deixa de estar também sempre presente.

(http://virtual-illusion.blogspot.pt/2015/01/cem-anos-de-solidao-1967.html) ( )
  nzagalo | Jul 24, 2015 |
One of the first novels considered to be in the magical realism genre. I had a little trouble getting through it, but it was worth it. ( )
  S_Trenti | Jul 11, 2015 |
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 |
Showing 1-5 of 341 (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.
buenisimo muy buena obra
added by tatianaerazo | editcolombia, tatianaerazo

» 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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Jomí García Ascot
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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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Haiku summary
Melquiades warns,
a message recieved late,
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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