Albert Angelo

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The Truce Between Fabulism and Realism: On Gabriel Garcia Marquez and the Modern Novel

1.
When Gabriel Garcia Marquez died in April, the general flow of eulogy settled on two interpretations of his legacy: in the first, as a titanic but essentially regional author (The Times obituary called One Hundred Years of Solitude “the defining saga of Latin America’s social and political history”); in the second, as a model for the diminishing novelties of subsequent magical realists, like Salman Rushdie and Isabel Allende.

Fair enough. Garcia Marquez himself saw his style as fundamentally linked to the politics of his continent in his lifetime. (Correctly — for example, nothing has ever better captured how important the theft of time must feel in a totalitarian state than the dictator who lives on and on for centuries in The Autumn of the Patriarch.) It’s also true that he gave license to a new kind of fabulism, unique in that it didn’t descend from Swift or Cervantes, and therefore didn’t depend on either satire or comedy to atone for the recklessness of its inventions.

Those are narrow channels of influence, however, and there’s a third, untracked, more expansive reading of his work to make. It might go like this: he solved an essential problem of the novel; he arrived at a moment of crisis for the form and offered the warring parties a graceful way out of it; and if there’s a single novel that can claim paternity for the last 20 years of American fiction, it’s probably One Hundred Years of Solitude.

2.
That book was published in America in 1972, and it was a sensation, critically and commercially, William Kennedy famously calling it, with un-Albanyish zeal, “the first piece of literature since the Book of Genesis that should be required reading for the entire human race.” (If you somehow haven’t heard of it, One Hundred Years of Solitude is the multi-generational chronicle of a Colombian family called the Buendias.) At the time, there was a battle afoot between two kinds of fiction. Writers like Jean Stafford and Michael Shaara, traditional realists, were winning the Pulitzer Prize, while the National Book Award, inclined toward a more radical approach, went to John Barth and William Gaddis, campus experimentalists grinding out the logical final steps of the project inaugurated by Borges, by Ulysses, Hopscotch, Albert Angelo. Each side loathed the other. Updike’s declaration about Thomas Pynchon — “I don’t like the funny names” — might as well stand in for the whole cultural apparatus that was committed to realism; on the other hand Barth’s foundational postmodernist essay “The Literature of Exhaustion” called realism “used up,” and Gaddis said that such writing “never takes your breath away…it’s for people who read with the surface of their minds, people with reading habits that make the smallest demands on them.”

The great formal achievement of One Hundred Years of Solitude was that it treated the two positions not as antipodal but as dialectical. It satisfied the modernist commitment to narrative innovation in two ways, first in its compression and dilation of time — what would become the hallmark of magical realism — and second in its use of the fantastic, the twins who die at the same instant, the visitation of the ghosts, the glass city, Remedios being sublimated into heaven as she does the laundry.

But Garcia Marquez made the ingenious decision to embed those moments of originality within the stubbornly enduring structure of the traditional realist novel, turning his book into a family saga by way of a dream — Trollope by way of Barthelme. By doing so, he managed to defuse a central tension, one that had divided novelists since Hemingway and Joyce pitched their opposing camps. Of course, there were writers before Garcia Marquez who had blended the magical and the prosaic (Kafka, most famously) but none of them were perhaps as fully committed to narrative as Garcia Marquez seemed — to story. Meanwhile, other writers across the world had the same impulse, many of them, interestingly, in totalitarian states, including Milan Kundera and Danilo Kis, but their books were being passed around in samizdat, not, as Garcia Marquez’s was, in suburban book clubs and city libraries. What makes One Hundred Years of Solitude a watershed moment of cultural history is that mix of plot, experimentation, acclaim, and popularity.

That’s also why its influence has been so subtly pervasive. Many of our heaviest hitters — Franzen, Wallace, Eisenberg, Tartt, Saunders, Chabon — were born around 1960, and therefore came of age during the book’s ascendancy. Considered in that light, their debt to it seems plain, whether or not they would acknowledge it, whether or not they found the book stimulating, indeed whether or not they’ve even read it.

The reason is that all of them play the same trick, filigreeing traditional realism with enough carefully selective post-modernism to claim its gloss of coolness — but without the unfortunate consequence of making their work difficult to read. In The Adventures of Kavalier and Clay there’s the Golem of Prague; in The Art of Fielding there’s the self-consciously literary exhumation of the corpse; in The Corrections, there’s the magical device of Correctall, the pill that allows Chip Lambert to forget his anxiety and enter a state of dreamlike euphoria. (It’s a sign of our age how often American magical realism is pharmaceutical, after Franzen’s example — the decision-making drug in Indecision by Benjamin Kunkel; the test subjects in George Saunders’s magnificent “Escape from Spiderhead.”) Fiction is an essentially conventional art form, most at home in the bourgeoisie, but its practitioners have — quite rightly! — never been at ease with that fact. The compromise at which we’ve arrived is that every book now has the credibility of the avant-garde within a Victorian structure. It’s more fun to claim the influence of John Hawkes than John Galsworthy; it’s more fun to read a book whose plot is patterned after Jane Austen than B.S. Johnson.

3.
Unsurprisingly, the first American novelist to take the full implications of Garcia Marquez on board may have been our smartest one, Philip Roth. (It’s not a coincidence that he spent the 1970s publishing Eastern European novelists, and, as Roth Unbound described, sneaking money to them via illicit networks — a fact that ought to shame the Nobel committee members who have claimed that American writers are unworthy of the prize because they’re too inward-looking, too insular.) His books The Counterlife and Operation Shylock were precursors of the great florescence of faux-mo novels in the 2000’s, using false flags and mirrored characters without their pace or urgency. The logical culmination of the trend is probably The Marriage Plot, which states the tension outright, dropping a college student who just wants to read 19th-century novels into the semiotics craze of the 1980s.

At their weakest, these post-Garcia Marquez books have been kinetic without moving, emotional without evoking any real sensation, readable without deserving to be read. The novel of this type that comes to mind for me is Absurdistan by the sometimes terrific Gary Shteyngart, a disagreeable blend of absurdism and soft sentimentality. Michael Chabon, Jonathan Lethem, Junot Diaz, Jonathan Safran Foer, and Colson Whitehead can feel similarly limited by their very limitlessness — their work at times too ironized for readers to treat its narrative seriously, but too committed to narrative to offer the sense of alienation, dread, and obliqueness we feel in, for example, Don DeLillo and William Gibson. The writer for whom cultural critics were so eager to give Garcia Marquez credit, Salman Rushdie, might be the least exciting of the bunch. The Pale King offers a glimpse of what David Foster Wallace’s pushback against his own trend might have looked like — his reconnection with difficulty as a means of higher artistic consciousness.

Recent Pulitzer Prize committees have waded into this fray again; books of high seriousness, eschewing the jokey gloss of the comic book generation, have won the prize, including three lovely but deeply conservative novels, Tinkers by Paul Harding, March by Geraldine Brooks, and Olive Kitteredge by Elizabeth Strout. How much does that matter? The painter Gerhard Richter has spent the last 50 years dissolving what previously seemed like a crucial distinction between figurative and abstract painting; is it possible that novelists, too, no longer need to declare a single allegiance? If so, the books that Garcia Marquez gave a generation permission to write, produced during the truce between fabulism and realism, may begin to look odd: artifacts of the historical moment they thought they were creating. One of the pieces of shallow wisdom people like to repeat is that every great book either creates or dissolves a genre, and sometimes it’s true. One Hundred Years of Solitude, though it hasn’t quite received credit for this, established the school of fiction we currently consider great. It’s up to some other genius to dissolve it.

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