Comparative strategies of analysis have, as we observed earlier, led to some differences between English and Anglo-American critics on the one hand, and Latin American critics on the other, dividing critics who perceive literary heredity from an Anglo-American tradition from those who focus mainly on Latin American literary ascendancy (although the divide is sometimes more individual than geographic). Nearly all critics converge on the most evident points of literary influence in One Hundred Years of Solitude, beginning with the Old and New Testaments. The novel alludes to Genesis, Exodus and the Apocalypse of St John the Divine. García Márquez was quoted often about different writers whose works were meaningful to him, and he cited Sophocles, Faulkner, Borges, Virginia Woolf and Tolstoy.1 One Hundred Years of Solitude has been called ‘the Great American novel’2 and compared to Don Quixote. The tendency to compare in literary criticism is inevitable. In terms of García Márquez’s magnum opus, there are no particular disputes, but whereas British and Anglo-American critics tend at times to view the novel independently of its cultural origins and focus on broader interpretations of literary ascendancy, Latin American critics have not usually objected directly, but rather have examined the novel more within its cultural environs.
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