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43 pages 1 hour read

Gabriel García Márquez, Transl. Gregory Rabassa

The Autumn of the Patriarch

Fiction | Novel | Adult | Published in 1975

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Background

Cultural Context: Latin America

Gabriel García Márquez was born in Colombia and spent much of his life in Latin American countries. The Autumn of the Patriarch is a novel about dictatorship that is largely influenced by a group of Latin American dictators who gained power and executed brutal rule in his lifetime. The life of Venezuelan dictator Marcos Pérez Jiménez, a particularly violent and totalitarian ruler, mirrors closely the life of the General. Like the General of the Universe, Jiménez rid Venezuela of the national university, cut health and educational funding, and was so suspicious of outsiders that no more than six army officials held power during his rule.

This type of political system, or caudillismo, though not entirely distinct to Latin America, was practiced in the region because the end of Spanish rule over colonial territories (like the Caribbean) caused a power vacuum that military leaders filled after ousting the colonists. Though caudillismo did not last, many 20th-century dictators, like Jiménez, are sometimes referred to as caudillos—leaders selected due to their charismatic personalities and military and political prowess. Though not all caudillos were brutal in their reign, they were all authoritarian. The General embodies the archetypal caudillo in The Autumn of the Patriarch.

The relationship between European colonizers and colonized territories also informs the novel, largely because of the colonial relationship between Spain and the Caribbean; the General takes control due to the power vacuum that emerged after independence from Spain. Márquez includes many anachronisms, like presence of colonial Spain alongside British naval officers—incidents that historically occurred 300 years apart—to support the argument that The Pursuit of Power tends to corrupt individuals, especially those in positions of authority.

Literary Context: Magical Realism

Márquez is one of the most well-known magical realist writers, and his novel One Hundred Years of Solitude is often a reference point for the genre itself. Magical realism grounds itself in reality while also including fantastical or magical elements as a part of that reality without questioning its presence. It’s often used, as is the case in The Autumn of the Patriarch, to critique grave social injustices through fantastic allegory. Other examples of magical realism that perform this kind of critique are Toni Morrison’s Beloved (1987) or Salman Rushdie’s Midnight’s Children (1981).

In The Autumn of the Patriarch, time is not linear throughout the narrative, and the General lives well beyond average life expectancy. The entire sea is sold, leaving only “dead craters of harsh moon ash on the endless plain where the sea had been” (3). That the sea can be removed at all is fantastic, and the inclusion of celestial language like “moon ash” adheres to the linguistic qualities of magical realism. The narrator changes hosts, too, sometimes drifting through the General, sometimes through his mother, and once through someone with leprosy on palace grounds whom the General heals with just his touch. This narrator strategy creates a destabilizing effect, much like despotic rule and totalitarian power. The novel’s historical anachronisms, like using the real names of Northern explorers (William Dampier) or Latin American poets (Rubén Darío), also reflect the tenants, and liberties, of the magical realist genre.

Magical realism, which relies heavily on repeated symbolism and fantasy and usually offers political critique, also allows the novel to capture a dense history of colonialism, its effects, and its aftermath, including disease, war, government instability, and various conditions of the human experience—like death and love and greed.

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