Play and Playfulness in Garcia Marquez'. One Hundred Years of Solitude.

7/30/2019 Play and Playfulness in Garcia Marquez'. One Hundred Years of Solitude.

1/14

Play and Playfulness in Garca Mrquez' "One Hundred Years of Solitude"Author(s): Enrique A. GiordanoReviewed work(s):Source: Rocky Mountain Review of Language and Literature, Vol. 42, No. 4 (1988), pp. 217-229Published by: Rocky Mountain Modern Language AssociationStable URL: http://www.jstor.org/stable/1346974 .

Accessed: 27/01/2013 20:13

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

of scholarship. For more information about JSTOR, please contact [email protected].

.

Rocky Mountain Modern Language Association is collaborating with JSTOR to digitize, preserve and extend

access toRocky Mountain Review of Language and Literature.

http://www.jstor.org

This content downloaded on Sun, 27 Jan 2013 20:13:14 PMAll use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=rmmlahttp://www.jstor.org/stable/1346974?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/1346974?origin=JSTOR-pdfhttp://www.jstor.org/action/showPublisher?publisherCode=rmmla


2/14

Play and Playfulness in Garcia Marquez'OneHundred Years of SolitudeEnrique A. GiordanoUniversity of Cincinnati

Understandingthe playfulnature of contemporaryiterature is atask which has not yet been undertaken with the necessary rigor,not even in the case of its most obvious exponents such as Borges orCortazar. Those studies which speak of play, in both poetic and nar-rative works, part from a prior, tacitly accepted assumption betweencritic and reader, which provides neither a greater questioning noran intrinsic analysis of the concept.The concept of play is extremely complex, and its connotations,numerous and oftentimes contradictory.This has already been indi-cated by Ludwig Wittgenstein, accordingto whom there is no com-mon nature of play, only a network of overlapping and crisscrossingsimilarities. This idea is well-groundedif we observe that in spite ofthe inexhaustible bibliographywhich exists on the subject, there isno commoncriterion, much less a generic conceptwhich would allowus to define precisely what constitutes play. In just what way aplayful reality differs from a non-playful one is something which noliterary critic has been able to formulate exactly, much less in whatway playful texts vary among themselves. Borgean play is very dif-ferent from Cortazar's, and quite obviously from Cabrera Infante'sand Lezama Lima's.I am unable to make a comprehensive summary of the manymeanings of the term play in this study. I shall limit myself toreviewing some which are, in my view, essential for application toOne Hundred Years of Solitude, and to drawing thence some con-clusions which may proveuseful for future investigations.Johan Huizinga defines play as a well-defined action, differentfrom everyday life, whose supralogical dynamics create a separatelevel of reality, which is endowed with rhythm and harmony withina perfect temperospatial frame (28). Play has autonomous laws andtranscends the immediate reality (former,non-playful reality). Thisimplies a perfectly demarcated and autonomous playful space. Theexcessive generality of this concept has already been pointed out onseveral occasions. Such a definition covers too wide a radius oftextual possibilities. Adhering to it without question would force usultimately to accept realism as play as well, since it fully respondsto the concept as posited. Jacques Ehrmann, in his article "HomoLudens Revisited," carries this to its extreme, completely negatingHuizinga's definition, especially with regard to the remission of playto a second reality, differing from immediate reality (Ehrmann

217

This content downloaded on Sun, 27 Jan 2013 20:13:14 PMAll use subject toJSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp


3/14

31-57). But in his excessive extremism, he only succeeds infurthering the confusion.The studies of authors such as Susan Stewart, Jacques Derrida,and Hans-Georg Gadamer will prove more useful for us. Accordingto Susan Stewart, play implies a transgression of the interpretativeprocesses of common sense, a process of redemarcation or refram-ing. The elements of playful discourse and the strategies of com-munication decontextualize the context of commonsense, yielding asuperior level of metacommunication among transmitter, message,and receiver (Stewart 3-46). The discourse of common sense whichis being transgressed is, in this case, more precise than it was inHuizinga: the level of reality is everyday and empirical, and the dis-course is accepted by the codes of said reality, even when these mayhave been transgressed in another moment of literary history (con-temporary common sense is not the common sense of the past cen-tury). Thus play implies a decodification and "disruption ofpresence"(Derrida 423-25), but with the purpose of recontextualiz-ing the discourse. In the new discourse we are offered a new systemof codes, a system of metacodificationand metacommunication.Thisis what Hans-GeorgGadamercalls the "processof transformation instructure"; the result of the transformation is radically differentfrom the previous presence (99-100). Susan Stewart says: "Themoreclearly the metacommunication is marked, the more playful the dis-course"(20-32). In light of this, in what sense is One Hundred Yearsof Solitude playful?Among the studies we have on Garcia Marquez'texts we find fewreferences to the play element. The only study that approachesdirectly and explicitly One Hundred Years of Solitude's playfulnessis one by Daniel Torres in Los versos ineditos del CoronelBuendia.... In this work he refers to the concepts of Huizinga, Der-rida, and Stewart in orderto establish a nexus between the playful-ness of the text and its poetic dimensions. Torres demonstrates thevital function of the poetic within the narrative discourse in OneHundred Years of Solitude, which often occurs when the narratoruses a playful strategy (53-55).If we examine the texts of authors before Garcia Marquez whohave stood out for using play in the structuring of their narrativeuniverse, we see that in Borges, for example, the playful space isconceived as a closed and autonomous frame. This space isreiterated constantly, following its own laws, which transgress allforms of realism in the text. According to Jacques Derrida, playimplies infinite substitutions within the frame of a finite ensemble(423-25). This is exactly what occursin framed games-for example,chess. We have a board with sixty-four squares (thirty-two whiteand thirty-two black), a demarcated space with inviolable rules.But, within this ensemble, the moves are infinite. We have all thevariations of the macrocosmos in the inexhaustible movement/

218 RockyMountain Review



4/14

countermovementof each game, inserted within the finite frame ofthe microcosmosthat projects them. The board cannot be destroyed,nor the rules changed. The rules are inflexible and the board,eternal. Both Borges' poetry and his fiction function in a likefashion. Nonetheless, Borges ironicizes the above-mentionedconceptof play transgressing itself and arrives at the recourse of whatFrances Wyers has called the "theory that negates itself' (126).Borges brings us to a skeptical view of the universe, within whichplay is a fictitious, compensatorymeans as I have said in my article"El uego de la creaci6nen Borges"(343-66).Julio Cortazarbrings us to a reconsideration of play that is closerto Derrida's concept: play is "disruptionof presence," the constantbreaking of both the structures and the vital dynamics, preventingthe pigeonholing of man and of all means of expression. We aredealing with the break with all finite playful space: the explosion ofthe Borgean board, leading to the transgression of the very processof writing.Starting from point zero where Cortazar has led the narrative asa process of recontextualization of our literary expression, GabrielGarcia Marquez once again takes up the Borgean concept of playfulwriting, adding to it new dimensions which we shall now analyze.If Borgean space was a microcosmos cut off fromboth past and fu-ture, each of whose approximationstoward infinite end up negatingthemselves like a recontextualized Tower of Babel myth, GarciaMarquez'microcosmosis all-embracing, organic, although not com-pletely different fromBorges'closed playful frame. Moreover,in OneHundred Years of Solitude space is neither solipsistic nor abstract:it is exclusively Latin American. Nonetheless, in its structural con-ception it does not differ greatly from Borges',with respect to whomhe has in most cases been considered an antagonistic figure. Littlereference to Borgean elements in Garcia Marquez can be foundthroughout the vast bibliography on his work. George McMurray,however, has studied the intertextual relations among both writersin his most provocative article entitled "'The Aleph' and OneHundred Years of Solitude: Two MicroscopicWorlds,"in which heasserts ". . . that had Borges never published his ficciones, OneHundred Years of Solitude would be different from what it is andnot as good as the masterpiece we know" (63). The profoundrelationship between both writers must be recognized and is mostclearly seen through the playful dynamic.Jose Aureliano Buendia outlines the universe and its history fromhis room on the patio, a room which is, in turn, a microcosmos ofMacondo-it is the point of departure for the theoretical outlining ofthe universe. The expansion is not real; it is playful. Jose Aurelianotravels with maps, he discovers what is already known in otherregions; his playful approach is the only means of contact with amacrocosmos which cannot be approached directly. Macondo, in

EnriqueA. Giordano 219



5/14

turn, is the framed space which, like the chessboard, constitutes aspecific town, but is, simultaneously, all Spanish-American towns.However, the difference lies in Garcia Marquez' tendency to focusmore on Macondoitself, in its intrinsic reality, than on its universalreversions and multiplications.Following the concepts by Manfred Eigen and Ruthild Winkler,One Hundred Yearsof Solitude would be a conservative form of playin the Borgean vein (Eigen and Winkler 173-245); its mythical con-ception would follow the line of Levi Strauss, the centered myth, asopposed to the concepts of Wittgenstein or Derrida. But, as in Bor-ges, the problemis not so simple. We can, in fact, think of Macondoas the center of the universe, and as an all-embracingconceptionofSpanish America. This idea has become generalized to so great anextent that it has tended to sidetrack us from a deeper under-standing of the text. RaymondWilliams has already said about OneHundred Yearsof Solitude: "It has been often called a 'total novel,' aterm popularized ... by MarioVargas Llosa. Once one understandsand accepts the implications and limits of attempting to discusssuch a 'total' novel in an introductoryfashion, some commentary ispossible"(69). The truth is that Macondo,while it may embody theSpanish-American history, is never set as sole center of theuniverse. Throughout the text the existence of an outside world towhich Macondo has no access and from which it is excluded isstressed. The Buendias conceive of that unknown expanse as achimerical world; even further away lies the world where historytranspires and important events take place, the world of great andearly discoveries. The constant allusions to Riohacha imply the ex-istence of another-centered space. Contrary to the myth which isstructured around a center and embraces the totality of the world-i.e., the pre-Columbianmyths, the myth of Garcia Marquez showsits limitations, its insufficiency. As the philosophers of Tlon, Borges,and in other terms, Wittgenstein and Derrida, say: ". .. a system isnothing more than the subordinationof all aspects of the universe toany one such aspect" (Borges 10). As in the case of scientifictheories, play thus conceived does not try to go beyond those veryrules contained within its playful frame. Moreover,GarciaMarquezleans toward the revolutionary dissipative tendency (Eigen andWinkler 173-245); since scientific theory and conservative play areinalterable in their intrinsic system, Garcia Marquez' play tends tobe related to the context and the circumstances. While theprotagonist of No One Writes to the Colonel awaits in vain the letterthat will never arrive, while rowboats leaving once a week are theonly contact with the outside world, airplanes fly overhead and thedoctor reads in old newspapers of the far-off world where thingshappen. Macondo s being isolated from the universe.With devices different from those of Derrida, GarciaMarquez goesabout ironically negating the centered mythical concept and,

220 RockyMountainReview



6/14

moreover,demonstrating its radical insufficiency. In the face of this,Garcia Marquez, like Borges, leaves us back at point zero. Macondois destroyed by the wind and wrenched from history: " . . . becauseraces condemned to one hundred years of solitude did not have asecond opportunity on earth" (383)-fundamentally a pessimisticstatement.Garcia Marquez' irony is even more imperceptible than Borges'and still more so than Cortazar's. He does not confront us with afinal void because, implicitly, he merely suggests the end of an era,recontextualizing pre-Columbian mythologies. The Nahuatl cos-mogony, for example, comprehends the end of each of four suns,until the advent of the Fifth Sun in Teotihuacan. Each sun-orage-implies the destruction of the former one, and it is applicableto any dialectic concept of history. Macondo,therefore, is only one ofthe manifestations of a complex universe, and not the ad finitummultiplications of one of the points in a labyrinth of mirrors, as oc-curs in Borges.If in "The Circular Ruins"the wizard discovers that he himself isan unreal being just like the son he has created in his dreams, Bor-ges repeats to us in yet another of his incessant chess games thathistory is a vicious circle of circular repetitions. Each avatar, eachreturn of the same cycle is no more than a variation on the sametheme. But we never find in Borges a complete end: the Library ofBabel appears to be infinite. The end of a cycle implies in its veryenunciation the beginning of another, with no evolution.The concept of play as creation of a second reality is obvious inOne Hundred Years of Solitude. It does not constitute a linear,realistic text that empirically repeats the history of SpanishAmerica. Within the ensemble of the text, the supralogical level im-plies, in the playful aspect, an elaboration and a depuration of his-tory. The playful mythical course in the sense of Huizinga andLevi-Strauss is the principal recourse. But a closer look at thetext-object of later, more extensive studies-allows us to see thatin this sense the most significant aspects of Spanish-American his-tory may have been embodied and integrated spatially and tem-porally in Macondo. The basic recourse is unquestionably playful:the recontextualization of myth, of history, of the chronicles of theIndies and the linear and paradigmatic narration of fable. OriginalBiblical sin is recontextualized in the original incest of the Buendiasand the eternal curse on their caste. The pilgrimage of the chosenpeople is recontextualized as the search for the land that no one hadpromised them. If the children of Viracocha found the city of Cuzcowhere the divine rod was buried-in the ground, accordingto divineplan, the Buendias settle at the place where they will found Macon-do out of sheer tiredness and not having to take the road back toRiohacha; it is an unpropitious and completely isolated terrain. Atthe same time this recontextualizes the arrival and conquest of the

Enrique A. Giordano 221



7/14

Spaniards, their chaotic route, as do also the ascent of Remedios,the Beautiful One, the flood (recordedboth in the Bible and in thepre-Columbian mythologies), the plague (this time, of insomnia),Melquiades' holy book, the four Aurelianos, Amaranta's weaving tostructure time and ward off death, etc. Finally, the narrative tone offable is also the narrative discourse of the Chronicles of the Indies,and, even more so, of the Bible and of indigenous cosmogonies.Mostof this is very well analyzed in Wayne Field's article, "OneHundredYears of Solitude and New World Storytelling," applying mainlyMircea Eliade's concepts of myth (73-88).Upon decontextualizing all these elements, GarciaMarqueztrans-gresses them in their original textuality, and, inverting their mean-ing, recontextualizes them in a totality where the textual weave isso subtle and organic that it is impossible to separate. The Spanish-American world is playful in and of itself; its culture is a recontex-tualization of the most diverse elements.GarciaMarquez'apparently traditional storytelling style has beenwidely acclaimed, as, for example, by Ricardo Gull6n in his study"GarciaMarquez and the Lost Art of Storytelling" (McMurray129-39). This work, however, only probes superficially, because behindsuch seeming simplicity there lies an even more complex interplayof levels than in Borges. He, in his ostensibly linear discourse, ironi-cally confronts us with an opposition between reality and fiction.His apparently assertive tone bears from the very first lines theseeds of its own contradictions, yielding at the end of the story thattotal upset which leaves us in doubt. Garcia Marquez is even morecomplex. The impassive voice of the "deadpan"narrator is a playfulrecourse that immerses us in a world which does not allow for suchnarration. The simple fact of presenting us with the magical,fabulous, or wondrous as a likelihood, in the tone of the omniscientnineteenth-century narrator, negates the traditional narrativemode. Neither is his text linear with respect to the passage of time,nor is it a circular development, as has been said. Josefina Ludmerproved the extreme textual complexity of this novel in the first twoeditions of her book, Cien afnosde soledad: una interpretacion(1972and 1974), and particularly in her revised version in 1985. SinceLudmer's first publications, several critics have addressed GarciaMarquez'complexity from diverse points of view. Among them wecan mention Ariel Dorfman, Rene Jara, Andre Jansen, Noe Jitrik,Stephen Minta, Michael Palencia Roth, Gemma Roberts, WilliamSiemens, Mario Vargas Llosa, and already cited, Wayne Fields,Daniel Torres,GeorgeMcMurray,and RaymondWilliams.The narrator in One Hundred Years of Solitude is all-embracing,atemporal, even though the narration may be recorded in thepreterite of Biblical or chronistic times. This preterite does not existas such and there is much irony in its use. Everything has alreadyoccurred at the beginning of the novel. The time of the narration is

222 RockyMountainReview



8/14

an eternal present where linear, chronological meaning is lost. Thisrecourse of a present which constantly re-engenders itself is noneother than a recontextualization of the mythical concept of the pre-Columbians, particularly of the Maya-Quiche,for whom time is notan abstract becoming, but rather a vital organic force. The presentis a continuing to be, a constant affirming of its own existence. Past,present, and future do not exist accordingto our contemporaryun-derstanding of the terms. If we examine the Popol-Vuh,we will seethe same 'anachronism' as in One Hundred Years of Solitude, andthe same reiterative style.If Quiche Indian transcribed from memory the entire cosmogonyand history of his people, GarciaMarquezrecontextualizes the tech-nique of the holy book, using a similar recourse, and, at the sametime recontextualizing both Latin American chronistic discourseand the universal Biblical one. It is not in vain that the Popol-Vuhends with the statement similar to the final apocalypse of Macondo,as well as to that of the Bible:

And this was the life of the Quiche, because no longer canbe seen (the book of the Popol-Vuh)which the kings hadin older times, for it has disappeared. In this manner,then, all the people of the Quiche, which is called SantaCruz, came to an end. (234-35)

The last of the Aurelianos discovers that:.. Melquiades has not put events in the order of man'sconventional time, but had concentrated a century ofdaily episodes in such a way that they coexisted in one in-stant. (GarciaMarquez382)

The whole novel is, after all, Melquiades' writings, and it bringsus to an eminently playful text with various levels of complexity.Wehave a narrator who is displaced on many levels, from narrative-chronistic to intimate and poetic, encompassing and agglutinatingseveral temporal levels and ironically making us believe what henarrates, but confrontingus thus with a process of metacommunica-tion which will take us further beyond the surface of the text. Westand before a text which questions itself implicitly and whichbrings us to levels of reflection that are not recordable in a tradi-tional narration. We discover at the end that the text negates itselfand erects itself as reality of the word, world invented by the wordand that it only exists as a magical word, all of which is recontex-tualization of the meaning of primitive language: to name things isto make them present. For the Quiche Indian his culture still existsthrough the written word in the Popol-Vuh. In Garcia Mairquez'case, the text defines itself as made-up, as so many dried leaves

EnriqueA. Giordano 223



9/14

which will be blown away by the apocalypticwind. "Whoare the in-ventors of Tlon"Borges'narrator wonders ironically (7). Melquiadesmade-up Macondo, and, in the final moment of the text, the lastAureliano-like Borges' characters-dies upon discovering the keyof the labyrinth. The text forks on several levels, until character,narrator, and fiction converge at the final point zero. So does thereader, for precisely at this point he completes the reading. OneHundred Years of Solitude requires further readings from severalangles in orderto capture the text's authentic reality.GarciaMarquez plays not only with the vast complexity of writingbut also with the act of reading. It is interesting to note that whileBorges and Cortazar are almost inaccessible to a reader without aliterary background, Garcia Marquez can be appreciated on alllevels. In his textual games, in the apparent simplicity of hisnarration, and in the fascinating nature of the wondrous eventsrelated, he permits both a naive reading and one of greaterintellectual subtlety.Play, in its broader sense, has emerged as a vital need for severalof the most important contemporary Latin American writers,specifically since Jorge Luis Borges, in narrative, and VicenteHuidobro, in poetry. After Borges' ficciones and Cortazar'sHopscotch, Garcia Marquez'narrator marks a fundamental changein the process of writing and reading. By now, it is clear that GarciaMarquez' texts, in particular One Hundred Years of Solitude, followthe ludic trajectory that began in Borges. Both authors continuealong the line of framed play still correspondingto Huizinga's con-cepts, but following even closer the concepts of Levi-Strauss' andMircea Eliade's centered myth. Nevertheless, as I mentioned ear-lier, they are still not completely faithful to this conservative view ofplay. The irony generated in both Borges and GarciaMarqueztendsto paradoxically negate this conservative perspective taking theprocess of writing to a zero base. The text comments on itself, trans-gresses itself, and ends up negating its own reality. Even more so,Borges and Garcia Marquez transgress the traditional concepts ofplay and playfulness themselves.We could certainly establish a nexus with most of Julio Cortazar'sshort stories ("Axolotl,"or instance). But in Hopscotch, and also insome of the short stories like "Blow-Up" "Las babas del diablo"),Cortazar differentiates with Borges' and Garcia Marquez' playful-ness in that he leans towards the tendency we have nominated as"revolutionary,"orrespondingto a process similar to that of entropy(following Eigen's and Winkler's concepts) and Derridian play as"disruptionof presence." Cortazar and Garcia Marquez, therefore,continue in opposite directions.1The playful strategy that begins in ficciones and culminates inMacondo parallels the disruptive line of play that begins inCortazar and later is echoed in Guillermo Cabrera Infante and

224 RockyMountain Review



10/14

Severo Sarduy. The evolution and diverse directions of playful writ-ing throughout the most contemporary writers are subjects foranother investigation that I have already undertaken. In this study,however, it was necessary to prove that One Hundred Years ofSolitude is essentially a playful text in order to give us an oppor-tunity to reread and focus our perspective from new points of view.

NotesIn The Autumn of the Patriarch we can notice a turning point in GarciaMarquez' udic strategies, following a trend that may connect him with the

disruptive concept of play. However, it is still without abandoning theparadoxical totalizing intentions of his previous works. In The Autumn ofthe Patriarch, the textual devices are somewhat closer to Lezama Lima'sorSevero Sarduy's, but this is again subject for another discussion. PatriciaTobin'svery interesting article about TheAutumn of the Patriarch is an im-portant contribution for future studies on the subject.2It is interesting to note that Three Trapped Tigers (Tres tristes tigres) byCabrera Infante, following the same disruptive pattern, ends in the op-posite direction of Cortazar'sHopscotch.While emerging from the vacuum,the subject of "narration"weaves and unweaves all the different levels of

the text (orcomplexof texts), but instead of leaving the novel open-ended,itcloses the text completely in a way similar to that of a puzzle. Severo Sar-duy, in a way, picks up Cortazar'sopenness and entropy, implying a newopening through the devices of incessant metamorphosis of the text, as wecan see, forinstance, in Cobra.

Works CitedBorges, Jorge Luis. Labyrinths. Ed. Donald A. Yates and James Irby. NewYork:New Directions, 1962.Cabrera Infante, Guillermo. Tres tristes tigres. Barcelona: Seix-Barral,1967.

Three Trapped Tigers. Trans. Donald Gardner andSuzanne Jill Levine, in collaborationwith the author. New York:Har-per, 1971.Collazos, Oscar. Garcia Mdrquez: La soledad y la gloria. Barcelona: Plaza yJanes, 1983.Cortazar, Julio. Blow-up, and Other Stories. Trans. Paul Blackburn. NewYork:Collier, 1967.

Enrique A. Giordano 225



11/14

226 Rocky Mountain Review. Bestiario. Buenos Aires: Ed. Sudamericana, 1966.. Hopscotch.New York:Avon, 1975.. Las armas secretas. Buenos Aires: Ed. Sudamericana,1968.. Rayuela. Buenos Aires:Ed. Sudamericana, 1963.

Derrida, Jacques. "Structure, Sign, and Play." The Structuralistic Con-troversy.Ed. RichardMacksey and Eugene Donato. Baltimore: JohnsHopkins University Press, 1972. 247-64.Dorfman, Ariel. "La muerte como acto imaginativo en Cien aios desoledad."Homenajea GabrielGarcia Mdrquez.Ed. Helmy Giacoman.New York:Las Americas, 1972. 105-39.Earle, Peter G. Gabriel GarciaMdrquez.Madrid:Taurus, 1981.Ehrmann, Jacques. "HomoLudens Revisited."Game,Play, Literature. YaleFrench Studies 41. New Haven:Yale University Press, 1968. 31-57.Eigen, Manfred,and Ruthild Winkler. Laws of the Game. New York:Knopf,

1981.Eliade, Mircea. Cosmos and History:TheMyth of the Eternal Return. Trans.Willard R. Trask. New York:Pantheon Books, 1954.

. Mythand Reality. Trans. WillardR. Trask. New York:Harper and Row, 1968.."The Yearning for Paradise in Primitive Tradition."Myth and Mythmaking.Ed. Henry A. Murray. 1959. Boston: Beacon

Press, 1969.Fields, Wayne. "OneHundred Yearsof Solitude and New World Storytell-ing."Latin AmericanLiteraryReview 15 (1987): 73-88.Gadamer,Hans-Georg.Truth and Method. New York:Crossroad,1982.Garcia Marquez, Gabriel. The Autumn of the Patriarch. Trans. GregoryRabassa. New York:Harper, 1976.

. Cien ahos de soledad. Buenos Aires: Ed.Sudamericana, 1967.

. El coronel no tiene quien le escriba. Medellin, Colom-bia:AguirreEditor, 1961.



12/14

Enrique A. Giordano 227. No One Writesto the Colonel and Other Stories. Trans.J. S. Bernstein. New York:Harper, 1968.. One Hundred Years of Solitude. Trans. GregoryRabassa. New York:Avon Books, 1967.. El otonodel patriarca. Barcelona: Plaza y Janes, 1975.

Giordano, Enrique. "Eljuego de la creaci6n en Borges." Hispanic Review.52. 3 (1984):343-66.Gull6n, Ricardo. "GabrielGarcia Marquezand the Lost Art of Storytelling."

Critical Essays on Gabriel GarciaMdrquez.Ed. GeorgeR. McMurray.Boston: G. K. Hall, 1987. 129-39.. Garcia Mdrquezo el olvidado arte de contar. Madrid:Taurus, 1970.. Garcia Mdrquez o el olvidado arte de contar. InGabriel GarciaMdrquez.Ed. Peter G. Earle. Madrid:Taurus, 1981.

Huizinga, Johan. Homo Ludens. A Study of the Play Element in Culture.Boston:Beacon Press, 1950.

Jansen, Andre. "Procesos humoristicos de Cien anos de soledad y susrelaciones con el barroco." Madrid: Instituto Internacional deLiteraturaIberoamericana,1975. 681-93."Procesos ironicos de Cien afos de soledad." Ex-plicaci6n de TextosLiterarios 1.4 (1976): 171-83.

Jara, Ren6. "Mitoy estructura en Cien ahos de soledad." V6rtice2. 1 (1978):96-102.Jitrik, N6e. "Laperfirastica productiva en Cien aiios de soledad." Eco 168(October1974):578-601.Levi-Strauss, Claude. The Savage Mind. Chicago: University of ChicagoPress, 1966.

Totemism. Trans. Rodney Needham. Boston: BeaconPress, 1963.Ludmer, Josefina. Cien afnosde soledad: una interpretaci6n.Buenos Aires:Tiempo Contemporaneo,1972, 1974.

. Cien afnos de soledad: una interpretaci6n. BuenosAires: CentroEditor de AmericaLatina, 1985.



13/14

McGuirk, Bernard and Richard Caldwell. Gabriel Garcia Mdrquez: NewReadings. Cambridge: Cambridge University Press, 1987.McMurray, George. Gabriel Garcia Marquez. New York: Frederick Ungar,1977.

"'The Aleph' and One Hundred Years of Solitude: TwoMicrocosmic Worlds." Latin American Literary Review 13 (1985): 56-64.Critical Essays on Gabriel Garcia Mdrquez. Boston: G.K. Hall, 1987.

Minta, Stephen. Gabriel Garcia Mcrquez: Writer of Colombia. London:Jonathan Cape, 1987.Palencia Roth, Michael. Gabriel Garcia Mdrquez: La linea, el circulo y lasmetamorfosis del mito. Madrid: Gredos, 1983.Popol-Vuh. The Sacred Book of the Ancient Maya. Trans. Delia Goetz andSylvanus G. Morley. Norman: University of Oklahoma Press, 1950.Roberts, Gemma. "El sentido de lo c6mico en Cien anos de soledad." Cuader-

nos Hispanoamericahos 312 (1976): 708-22.Sarduy, Severo. Cobra. Buenos Aires: Ed. Sudamericana, 1984.Sejourne, Laurette. America Latina: Antiguas culturas precolombinas.Mexico: Siglo Veintiuno, 1972.Siemens, William. "Tiempo, entropia y la estructura de Cien ahos desoledad." Explicacion de Textos Literarios 4.1 (1976): 359-71.Stewart, Susan. Nonsense. Aspects of Intertextuality in Folklore and Litera-ture. Baltimore: Johns Hopkins University Press, 1979.Tobin, Patricia. "The Autumn of the Signifier: The Deconstructionist Mo-ment of Garcia Marquez." Latin American Literary Review 13 (1985):65-78.Torres, Daniel. Los versos ineditos del Coronel Buendia rescatados del dis-curso narrativo en Cien afios de soledad. Santiago de Chile: InstitutoProfesional del Pacifico, Monografias del Mait6n, 1985.Vargas Llosa, Mario. Garcia Mirquez: Historia de un deicidio. Barcelona:Seix Barral, 1971.Williams, Raymond. Gabriel Garcia Mdrquez. Boston: Twayne, 1984.

Rocky Mountain Review28



14/14

Enrique A. Giordano 229Wittgenstein, Ludwig. The Philosophical Investigations. Oxford: OxfordUniversity Press, 1958.Wyers Weber,Frances. "Borges'sStories: Fiction and Philosophy."HispanicReview 36 (1968): 124-41.

Play and Playfulness in Garcia Marquez'. One Hundred Years of Solitude.

Documents

Transcript of Play and Playfulness in Garcia Marquez'. One Hundred Years of Solitude.