El propósito de mágica realismo en este novela

After surveying the usage of magical realism, it ultimately leads to one question. What purpose does it serve? What's the point? In creating a story based heavily in this genre of fiction, was there a particular purpose that García Márquez was looking to achieve?


Several examples from the author's life can be drawn upon in order to discern the purpose.

1.  García Márquez as Melquíades...Melquíades controls the progression of the Buendía family life, compressing a century of life into an instant when it is deciphered.In the same respect, García Márquez does the same thing with his readers. He conceived the story and wrote it out before the readers were able to read it and discern it for themselves. In the same respect, Aureliano represents the reader as they go on their own journey to discover the Buendía family history. It may be a bit of a stretch, but it's an interesting theory. 
2. The last Aureliano (the one to decipher the scrolls) was abandoned by his parents and left to live in his grandparents' house. (Sounds like Gabo's childhood...) 
3. Prototypes of García Márquez's grandparents can also be found in the novel. Colonel Aureliano Buendía (um, his grandfather was a colonel in the Colombian Civil War). Úrsula Iguarán, the storyteller and mother hen (his own grandmother wove wonderful tales, according to García Márquez). 

Looking again at the story within a story, is it possible that it serves as a way to continue the Buendía story? García Márquez has preserved the Buendía story the same way that Melquíades did. Only at the end of the novel are the messages deciphered, at which point, and obvious reaction would be to read them. Starting at the beginning of the scrolls and working through them would lead Aureliano to relive his family's history and his own once again. García Márquez does the same thing with the novel in a more aesthetic way by not numbering his chapters, limiting dialogue and lengthening the paragraphs. This causes the novel to have increased fluidity in reading, making it seem as the century passes by swiftly in about 400 pages.

"If the last Aureliano discovers on the last page that the won't be able to leave the magic room any more because that room is the last reality that remains to him in a world obliterated by the wind, it is not only because he has finally accepted being condemned to solitude but because perhaps on a non-conscious level he has accepted his reality as a creature forever lost in a world of mirages, of a being who inhabits a world of total fiction. But within that world, the wind that destroys the rest of Macondo in the last two pages does not touch Aureliano, petrified forever in the last line in the act of reading. Because that wind(like everything else in the Book) is made of words and is enclosed in a solid object made of pages that one can turn back to begin (once more and so on to infinity) the reading. What really ends on the last page of the Book is only the first reading. It is enough to turn back the pages for time to begin to run again, for the figures of the old and deceased come to life, for the fable to recommence. It's enough to read, or re-read." ( Rodriguez Monegal 151-152)

Furthermore, the usage of magical realism allows García Márquez to create a commentary on the historical and political concerns of Latin America.

• Macondo's first business empire is the banana plantation and is run by townspeople until they are overthrown by a foreign army. Shortly after the conquest, a massacre happens when the army decides to eliminate the Macondo workers as a way to assert their authority over the town. What's more, they rebuild parts of the city and eliminate any information regarding the massacre. (This idea sounds oddly similar to the displacement of the Incans by the Spanish Conquistadors.) Besides just the Spaniards, it's oddly reminiscent of the United Fruit Company of Boston during 1900-1928. They hired field hands through subcontractors as to be able to avoid Colombian labor legislation. In doing so, they were literally able to register that they had no laborers on payroll.
  

By creating a fictional and magical world, García Márquez creates a world in which he can write a commentary on the mistreatment of the native South Americans, the actions of the Spanish colonizers, and many more events in South American history.

This creative outlet allows for social commentary on several aspects ranging from the previously mentioned aspects through feminism, social rights and family dynamics. Latin American culture is predominantly male driven, and women are considered submissive to one man at a time, their father or their husband.

"In García Márquez men are flighty creatures, governed by whim, fanciful dreamers given to impossible delusions, capable of moments of haughty grandeur, but basically weak and unstable. Women, on the other hand, are solid, sensible, unvarying and down to earth, paragons of order and stability. They seem to be more at home in the world, more deeply rooted in their nature, closer to the center of gravity, therefore better equipped to face up to circumstances. García Márquez puts it another way: "My women are masculine." ( Bell-Villada 102)