Style and Surprise in García Márquez
The guiding theme of this article is the deceptive simplicity of García Márquez’s prose. One has only to think of the work of contemporaries like Lezama Lima and Cabrera Infante or even Cortázar or Donoso to see how “readable” García Márquez is. But then both the simplicity and the deception are real. This style owes a lot to that of Kafka, as García Márquez repeatedly said, as well as to his own career as a journalist, but finally, the language of his fiction is an extraordinary literary creation in its own right, full of hints and silences that allow the prose to do justice both to complex historical circumstances and to powerful imaginings of alternative worlds. This article argues also that this language develops over time and can productively be studied in three stages: the early fiction (1955–1962); Cien Años de Soledad and El Otoño del Patriarca (1967–1975); and the later work, especially El Amor en los Tiempos de Cólera (1985 and after).