Beautifully evocative and captivatingly strange imagery is densely woven throughout the poetic and complex narrative of Gabriel Garcia Marquez’s One Hundred Years of Solitude. The novel that won its author a Nobel Prize and defined the genre of magical realism, this book has had a firm and lasting grip on my imagination since I first read it in Russian translation in my early teens.
The lives and deaths of the generations of the Buendía family in the fictional town of Macondo are full of wonders that are taken in stride and miracles that are commonplace. The mundane and the magical intertwine, passions rise and dampen, children are born and die, girls of unspeakable beauty ascend into the sky amid laundered sheets, young men elope with gypsies, prophesies come true, time is fluid, history is forgotten and repeats itself inescapably.
One of the novel’s most vivid and visually expressive episodes for me has always been the story of the deluge – the period in Macondo’s history during which it rains “for four years, eleven months, and two days.” The continuous rainfall interrupts the normal order of life, uproots banana groves, kills the crops and the animals, rusts all machinery. Houses sag and walls cave in from the damp and rot, clothing sprouts moss, and people turn a greenish hue from algae growing on their skin.
The image of the swampy streets in which abandoned furniture and animal skeletons lie covered with red lilies was particularly evocative for me, echoing both the devastation and tenacity of life that characterize this part of the story.
Originally I wanted to make the mosaics in this series the same size as trade paperback books (13 x 20 cm), but that proved a little too small to work with. I ended up scaling the area up four times to 26 x 40 cm, which is a more manageable and retains the book page’s proportions.