An Analysis of an Old Man with Enormous Wings

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Samuel D. Tomaszewski English 102-010 19 February 2014 To Be, or Not to Be? Art Thou a Fairy Tale? By capturing, torturing, and eventually releasing the fallen angel in Gabriel Garcia Marquez’s “A Very Old Man with Enormous Wings,” Marquez uses magical realism and fairy tale elements to portray the political unrest that brewed in Columbia from the 1930s to the 1960s. The inhumane treatment of the man with wings also depicts Marquez’s view of the effects of the political revolution, which eventually led to a Columbian civil war. The magical realism genre is a fitting one for Marquez’s story. Magic realism is a narration style, most commonly used by Latin-American writers, that incorporates mythical or fantastic elements into a realistic situation of fiction. “A Very Old Man with Enormous Wings” implements the fantastical side of magic realism primarily by including the fallen angel in the story. Unlike a fable, the narration includes the angel and the supposed spider-woman as the only other-worldly beings. On a more realistic note, the angel is “all too human”. His wings “seemed so natural on that completely human organism that he could [not] understand why other men did [not] have them too” (Marquez 408, 410). Pelayo and Elisenda’s first reactions toward the fallen man is that “they regard him as human. He is ‘dressed like a ragpicker,’ is in the ‘pitiful condition of a drenched great-grandfather,’ and speaks ‘with a strong sailor's voice.’ His wings are not seen as otherworldly but as ‘huge buzzard wings,’ and the community finds him ‘familiar’ (McFarland 559). Other realistic aspects within Marquez’s story include the setting and the morals of the story itself. Critic Ronald McFarland believes that the setting of the story is a small village in Columbia sometime between the 1940s and the 1960s because “Father Gonzaga warns that wings are not the
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