As one progresses through Márquez’ oeuvre its density of self-reference becomes increasingly evident. This is partly because the author, like any other author, has his particular preoccupations and language from which he inevitably creates a distinctive imaginative world. But I have resisted Vargas Llosa’s emphasis on the ‘deicidal’ creation of a special fictional world since in Márquez the individual works conduct an implicit self-critical dialogue with each other and thereby resist totalisation. In fact the constant mutual adjustment between individual works is more marked after Hundred Years and there is a perceptible change in the kind of self-reference that occurs before and after that novel.
Swipe to navigate through the chapters of this book
Please log in to get access to this content
To get access to this content you need the following product:
- Macmillan Education UK
- Sequence number
- Chapter number