Play and Playfulness in Garca Mrquez' "One Hundred Years of Solitude" Author(s): Enrique A.

Giordano Reviewed work(s): Source: Rocky Mountain Review of Language and Literature, Vol. 42, No. 4 (1988), pp. 217-229 Published by: Rocky Mountain Modern Language Association Stable URL: http://www.jstor.org/stable/1346974 . Accessed: 27/01/2013 20:13
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Play and Playfulness in Garcia Marquez' One Hundred Years of Solitude

Enrique A. Giordano University of Cincinnati
task which has not yet been undertaken with the necessary rigor, not even in the case of its most obvious exponents such as Borges or Cortazar. Those studies which speak of play, in both poetic and narrative works, part from a prior, tacitly accepted assumption between critic and reader, which provides neither a greater questioning nor an intrinsic analysis of the concept. The concept of play is extremely complex, and its connotations, numerous and oftentimes contradictory. This has already been indicated by Ludwig Wittgenstein, according to whom there is no common nature of play, only a network of overlapping and crisscrossing similarities. This idea is well-grounded if we observe that in spite of the inexhaustible bibliography which exists on the subject, there is no common criterion, much less a generic concept which would allow us to define precisely what constitutes play. In just what way a playful reality differs from a non-playful one is something which no literary critic has been able to formulate exactly, much less in what way playful texts vary among themselves. Borgean play is very different from Cortazar's, and quite obviously from Cabrera Infante's and Lezama Lima's. I am unable to make a comprehensive summary of the many meanings of the term play in this study. I shall limit myself to reviewing some which are, in my view, essential for application to One Hundred Years of Solitude, and to drawing thence some conclusions which may prove useful for future investigations. Johan Huizinga defines play as a well-defined action, different from everyday life, whose supralogical dynamics create a separate level of reality, which is endowed with rhythm and harmony within a perfect temperospatial frame (28). Play has autonomous laws and transcends the immediate reality (former, non-playful reality). This implies a perfectly demarcated and autonomous playful space. The excessive generality of this concept has already been pointed out on several occasions. Such a definition covers too wide a radius of textual possibilities. Adhering to it without question would force us ultimately to accept realism as play as well, since it fully responds to the concept as posited. Jacques Ehrmann, in his article "Homo Ludens Revisited," carries this to its extreme, completely negating Huizinga's definition, especially with regard to the remission of play to a second reality, differing from immediate reality (Ehrmann

literatureis a Understanding the playful nature of contemporary

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Rocky Mountain Review 31-57). But in his excessive extremism, he only succeeds in furthering the confusion. The studies of authors such as Susan Stewart, Jacques Derrida, and Hans-Georg Gadamer will prove more useful for us. According to Susan Stewart, play implies a transgression of the interpretative processes of common sense, a process of redemarcation or reframing. The elements of playful discourse and the strategies of communication decontextualize the context of common sense, yielding a superior level of metacommunication among transmitter, message, and receiver (Stewart 3-46). The discourse of common sense which is being transgressed is, in this case, more precise than it was in Huizinga: the level of reality is everyday and empirical, and the discourse is accepted by the codes of said reality, even when these may have been transgressed in another moment of literary history (contemporary common sense is not the common sense of the past century). Thus play implies a decodification and "disruption of presence" (Derrida 423-25), but with the purpose of recontextualizing the discourse. In the new discourse we are offered a new system of codes, a system of metacodification and metacommunication. This is what Hans-Georg Gadamer calls the "processof transformation in structure"; the result of the transformation is radically different from the previous presence (99-100). Susan Stewart says: "Themore clearly the metacommunication is marked, the more playful the discourse"(20-32). In light of this, in what sense is One Hundred Years of Solitude playful? Among the studies we have on Garcia Marquez' texts we find few references to the play element. The only study that approaches directly and explicitly One Hundred Years of Solitude's playfulness is one by Daniel Torres in Los versos ineditos del Coronel Buendia.... In this work he refers to the concepts of Huizinga, Derrida, and Stewart in order to establish a nexus between the playfulness of the text and its poetic dimensions. Torres demonstrates the vital function of the poetic within the narrative discourse in One Hundred Years of Solitude, which often occurs when the narrator uses a playful strategy (53-55). If we examine the texts of authors before Garcia Marquez who have stood out for using play in the structuring of their narrative universe, we see that in Borges, for example, the playful space is conceived as a closed and autonomous frame. This space is reiterated constantly, following its own laws, which transgress all forms of realism in the text. According to Jacques Derrida, play implies infinite substitutions within the frame of a finite ensemble (423-25). This is exactly what occurs in framed games-for example, chess. We have a board with sixty-four squares (thirty-two white and thirty-two black), a demarcated space with inviolable rules. But, within this ensemble, the moves are infinite. We have all the variations of the macrocosmos in the inexhaustible movement/

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countermovementof each game, inserted within the finite frame of the microcosmos that projects them. The board cannot be destroyed, nor the rules changed. The rules are inflexible and the board, eternal. Both Borges' poetry and his fiction function in a like fashion. Nonetheless, Borges ironicizes the above-mentioned concept of play transgressing itself and arrives at the recourse of what Frances Wyers has called the "theory that negates itself' (126). Borges brings us to a skeptical view of the universe, within which play is a fictitious, compensatory means as I have said in my article "Eljuego de la creaci6n en Borges"(343-66). Julio Cortazar brings us to a reconsideration of play that is closer to Derrida's concept: play is "disruption of presence," the constant breaking of both the structures and the vital dynamics, preventing the pigeonholing of man and of all means of expression. We are dealing with the break with all finite playful space: the explosion of the Borgean board, leading to the transgression of the very process of writing. Starting from point zero where Cortazar has led the narrative as a process of recontextualization of our literary expression, Gabriel Garcia Marquez once again takes up the Borgean concept of playful writing, adding to it new dimensions which we shall now analyze. If Borgean space was a microcosmos cut off from both past and future, each of whose approximations toward infinite end up negating themselves like a recontextualized Tower of Babel myth, Garcia Marquez' microcosmos is all-embracing, organic, although not completely different from Borges' closed playful frame. Moreover,in One Hundred Years of Solitude space is neither solipsistic nor abstract: it is exclusively Latin American. Nonetheless, in its structural conception it does not differ greatly from Borges', with respect to whom he has in most cases been considered an antagonistic figure. Little reference to Borgean elements in Garcia Marquez can be found throughout the vast bibliography on his work. George McMurray, however, has studied the intertextual relations among both writers in his most provocative article entitled "'The Aleph' and One Hundred Years of Solitude: Two Microscopic Worlds,"in which he Hundred Years of Solitude would be different from what it is and not as good as the masterpiece we know" (63). The profound relationship between both writers must be recognized and is most clearly seen through the playful dynamic. Jose Aureliano Buendia outlines the universe and its history from his room on the patio, a room which is, in turn, a microcosmos of Macondo-it is the point of departure for the theoretical outlining of the universe. The expansion is not real; it is playful. Jose Aureliano travels with maps, he discovers what is already known in other regions; his playful approach is the only means of contact with a macrocosmos which cannot be approached directly. Macondo, in
asserts ". . . that had Borges never published his ficciones, One

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turn, is the framed space which, like the chessboard, constitutes a specific town, but is, simultaneously, all Spanish-American towns. However, the difference lies in Garcia Marquez' tendency to focus more on Macondoitself, in its intrinsic reality, than on its universal reversions and multiplications. Following the concepts by Manfred Eigen and Ruthild Winkler, One Hundred Years of Solitude would be a conservative form of play in the Borgean vein (Eigen and Winkler 173-245); its mythical conception would follow the line of Levi Strauss, the centered myth, as opposed to the concepts of Wittgenstein or Derrida. But, as in Borges, the problem is not so simple. We can, in fact, think of Macondo as the center of the universe, and as an all-embracing conception of Spanish America. This idea has become generalized to so great an extent that it has tended to sidetrack us from a deeper understanding of the text. Raymond Williams has already said about One Hundred Years of Solitude: "It has been often called a 'total novel,' a term popularized ... by Mario Vargas Llosa. Once one understands and accepts the implications and limits of attempting to discuss such a 'total' novel in an introductory fashion, some commentary is possible" (69). The truth is that Macondo, while it may embody the Spanish-American history, is never set as sole center of the universe. Throughout the text the existence of an outside world to which Macondo has no access and from which it is excluded is stressed. The Buendias conceive of that unknown expanse as a chimerical world; even further away lies the world where history transpires and important events take place, the world of great and early discoveries. The constant allusions to Riohacha imply the existence of another-centered space. Contrary to the myth which is structured around a center and embraces the totality of the worldi.e., the pre-Columbian myths, the myth of Garcia Marquez shows its limitations, its insufficiency. As the philosophers of Tlon, Borges, nothing more than the subordination of all aspects of the universe to any one such aspect" (Borges 10). As in the case of scientific theories, play thus conceived does not try to go beyond those very rules contained within its playful frame. Moreover, Garcia Marquez leans toward the revolutionary dissipative tendency (Eigen and Winkler 173-245); since scientific theory and conservative play are inalterable in their intrinsic system, Garcia Marquez' play tends to be related to the context and the circumstances. While the protagonist of No One Writesto the Colonel awaits in vain the letter that will never arrive, while rowboats leaving once a week are the only contact with the outside world, airplanes fly overhead and the doctor reads in old newspapers of the far-off world where things happen. Macondois being isolated from the universe. With devices different from those of Derrida, Garcia Marquez goes about ironically negating the centered mythical concept and,
and in other terms, Wittgenstein and Derrida, say: ". .. a system is

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moreover, demonstrating its radical insufficiency. In the face of this, Garcia Marquez, like Borges, leaves us back at point zero. Macondo
is destroyed by the wind and wrenched from history: " . . . because

races condemned to one hundred years of solitude did not have a second opportunity on earth" (383)-fundamentally a pessimistic statement. Garcia Marquez' irony is even more imperceptible than Borges' and still more so than Cortazar's. He does not confront us with a final void because, implicitly, he merely suggests the end of an era, recontextualizing pre-Columbian mythologies. The Nahuatl cosmogony, for example, comprehends the end of each of four suns, until the advent of the Fifth Sun in Teotihuacan. Each sun-or age-implies the destruction of the former one, and it is applicable to any dialectic concept of history. Macondo,therefore, is only one of the manifestations of a complex universe, and not the ad finitum multiplications of one of the points in a labyrinth of mirrors, as occurs in Borges. If in "The Circular Ruins" the wizard discovers that he himself is an unreal being just like the son he has created in his dreams, Borges repeats to us in yet another of his incessant chess games that history is a vicious circle of circular repetitions. Each avatar, each return of the same cycle is no more than a variation on the same theme. But we never find in Borges a complete end: the Library of Babel appears to be infinite. The end of a cycle implies in its very enunciation the beginning of another, with no evolution. The concept of play as creation of a second reality is obvious in realistic text that empirically repeats the history of Spanish America. Within the ensemble of the text, the supralogical level implies, in the playful aspect, an elaboration and a depuration of history. The playful mythical course in the sense of Huizinga and Levi-Strauss is the principal recourse. But a closer look at the text-object of later, more extensive studies-allows us to see that in this sense the most significant aspects of Spanish-American history may have been embodied and integrated spatially and temporally in Macondo. The basic recourse is unquestionably playful: the recontextualization of myth, of history, of the chronicles of the Indies and the linear and paradigmatic narration of fable. Original Biblical sin is recontextualized in the original incest of the Buendias and the eternal curse on their caste. The pilgrimage of the chosen people is recontextualized as the search for the land that no one had promised them. If the children of Viracocha found the city of Cuzco where the divine rod was buried-in the ground, according to divine plan, the Buendias settle at the place where they will found Macondo out of sheer tiredness and not having to take the road back to Riohacha; it is an unpropitious and completely isolated terrain. At the same time this recontextualizes the arrival and conquest of the
One Hundred Years of Solitude. It does not constitute a linear,

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Rocky Mountain Review Spaniards, their chaotic route, as do also the ascent of Remedios, the Beautiful One, the flood (recorded both in the Bible and in the pre-Columbian mythologies), the plague (this time, of insomnia), Melquiades' holy book, the four Aurelianos, Amaranta's weaving to structure time and ward off death, etc. Finally, the narrative tone of fable is also the narrative discourse of the Chronicles of the Indies, and, even more so, of the Bible and of indigenous cosmogonies. Most of this is very well analyzed in Wayne Field's article, "OneHundred Years of Solitude and New World Storytelling," applying mainly Mircea Eliade's concepts of myth (73-88). Upon decontextualizing all these elements, Garcia Marquez transgresses them in their original textuality, and, inverting their meaning, recontextualizes them in a totality where the textual weave is so subtle and organic that it is impossible to separate. The SpanishAmerican world is playful in and of itself; its culture is a recontextualization of the most diverse elements. Garcia Marquez'apparently traditional storytelling style has been widely acclaimed, as, for example, by Ricardo Gull6n in his study "GarciaMarquez and the Lost Art of Storytelling" (McMurray 12939). This work, however, only probes superficially, because behind such seeming simplicity there lies an even more complex interplay of levels than in Borges. He, in his ostensibly linear discourse, ironically confronts us with an opposition between reality and fiction. His apparently assertive tone bears from the very first lines the seeds of its own contradictions, yielding at the end of the story that total upset which leaves us in doubt. Garcia Marquez is even more complex. The impassive voice of the "deadpan"narrator is a playful recourse that immerses us in a world which does not allow for such narration. The simple fact of presenting us with the magical, fabulous, or wondrous as a likelihood, in the tone of the omniscient nineteenth-century narrator, negates the traditional narrative mode. Neither is his text linear with respect to the passage of time, nor is it a circular development, as has been said. Josefina Ludmer proved the extreme textual complexity of this novel in the first two editions of her book, Cien afnosde soledad: una interpretacion(1972 and 1974), and particularly in her revised version in 1985. Since Ludmer's first publications, several critics have addressed Garcia Marquez' complexity from diverse points of view. Among them we can mention Ariel Dorfman, Rene Jara, Andre Jansen, Noe Jitrik, Stephen Minta, Michael Palencia Roth, Gemma Roberts, William Siemens, Mario Vargas Llosa, and already cited, Wayne Fields, Daniel Torres, George McMurray,and Raymond Williams. The narrator in One Hundred Years of Solitude is all-embracing, atemporal, even though the narration may be recorded in the preterite of Biblical or chronistic times. This preterite does not exist as such and there is much irony in its use. Everything has already occurred at the beginning of the novel. The time of the narration is 222

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an eternal present where linear, chronological meaning is lost. This recourse of a present which constantly re-engenders itself is none other than a recontextualization of the mythical concept of the preColumbians, particularly of the Maya-Quiche, for whom time is not an abstract becoming, but rather a vital organic force. The present is a continuing to be, a constant affirming of its own existence. Past, present, and future do not exist according to our contemporary understanding of the terms. If we examine the Popol-Vuh, we will see
the same 'anachronism' as in One Hundred Years of Solitude, and

the same reiterative style. If Quiche Indian transcribed from memory the entire cosmogony and history of his people, Garcia Marquez recontextualizes the technique of the holy book, using a similar recourse, and, at the same time recontextualizing both Latin American chronistic discourse and the universal Biblical one. It is not in vain that the Popol-Vuh ends with the statement similar to the final apocalypse of Macondo, as well as to that of the Bible: And this was the life of the Quiche, because no longer can be seen (the book of the Popol-Vuh) which the kings had in older times, for it has disappeared. In this manner, then, all the people of the Quiche, which is called Santa Cruz, came to an end. (234-35) The last of the Aurelianos discovers that:
..

conventional time, but had concentrated a century of daily episodes in such a way that they coexisted in one instant. (Garcia Marquez 382) The whole novel is, after all, Melquiades' writings, and it brings us to an eminently playful text with various levels of complexity. We have a narrator who is displaced on many levels, from narrativechronistic to intimate and poetic, encompassing and agglutinating several temporal levels and ironically making us believe what he narrates, but confronting us thus with a process of metacommunication which will take us further beyond the surface of the text. We stand before a text which questions itself implicitly and which brings us to levels of reflection that are not recordable in a traditional narration. We discover at the end that the text negates itself and that it only exists as a magical word, all of which is recontextualization of the meaning of primitive language: to name things is to make them present. For the Quiche Indian his culture still exists through the written word in the Popol-Vuh. In Garcia Mairquez' case, the text defines itself as made-up, as so many dried leaves
and erects itself as reality of the word, world invented by the word

Melquiades has not put events in the order of man's

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Hundred Years of Solitude requires further readings from several

Rocky Mountain Review which will be blown away by the apocalyptic wind. "Whoare the inventors of Tlon"Borges' narrator wonders ironically (7). Melquiades made-up Macondo, and, in the final moment of the text, the last Aureliano-like Borges' characters-dies upon discovering the key of the labyrinth. The text forks on several levels, until character, narrator, and fiction converge at the final point zero. So does the reader, for precisely at this point he completes the reading. One

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angles in order to capture the text's authentic reality. Garcia Marquez plays not only with the vast complexity of writing but also with the act of reading. It is interesting to note that while Borges and Cortazar are almost inaccessible to a reader without a literary background, Garcia Marquez can be appreciated on all levels. In his textual games, in the apparent simplicity of his narration, and in the fascinating nature of the wondrous events related, he permits both a naive reading and one of greater intellectual subtlety. Play, in its broader sense, has emerged as a vital need for several of the most important contemporary Latin American writers, specifically since Jorge Luis Borges, in narrative, and Vicente Huidobro, in poetry. After Borges' ficciones and Cortazar's Hopscotch, Garcia Marquez' narrator marks a fundamental change in the process of writing and reading. By now, it is clear that Garcia the ludic trajectory that began in Borges. Both authors continue along the line of framed play still corresponding to Huizinga's concepts, but following even closer the concepts of Levi-Strauss' and Mircea Eliade's centered myth. Nevertheless, as I mentioned earlier, they are still not completely faithful to this conservative view of play. The irony generated in both Borges and Garcia Marquez tends to paradoxically negate this conservative perspective taking the process of writing to a zero base. The text comments on itself, transgresses itself, and ends up negating its own reality. Even more so, Borges and Garcia Marquez transgress the traditional concepts of play and playfulness themselves. We could certainly establish a nexus with most of Julio Cortazar's short stories ("Axolotl," for instance). But in Hopscotch, and also in some of the short stories like "Blow-Up"("Las babas del diablo"), Cortazar differentiates with Borges' and Garcia Marquez' playfulness in that he leans towards the tendency we have nominated as "revolutionary," correspondingto a process similar to that of entropy (following Eigen's and Winkler's concepts) and Derridian play as "disruption of presence." Cortazar and Garcia Marquez, therefore, continue in opposite directions.1 The playful strategy that begins in ficciones and culminates in Macondo parallels the disruptive line of play that begins in Cortazar and later is echoed in Guillermo Cabrera Infante and
Marquez' texts, in particular One Hundred Years of Solitude, follow

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Severo Sarduy. The evolution and diverse directions of playful writing throughout the most contemporary writers are subjects for another investigation that I have already undertaken. In this study, however, it was necessary to prove that One Hundred Years of Solitude is essentially a playful text in order to give us an opportunity to reread and focus our perspective from new points of view.

Notes
Marquez'ludic strategies, following a trend that may connect him with the disruptive concept of play. However, it is still without abandoning the paradoxical totalizing intentions of his previous works. In The Autumn of the Patriarch, the textual devices are somewhat closer to Lezama Lima's or Severo Sarduy's, but this is again subject for another discussion. Patricia Tobin's very interesting article about The Autumn of the Patriarch is an important contribution for future studies on the subject. Cabrera Infante, following the same disruptive pattern, ends in the opposite direction of Cortazar'sHopscotch. While emerging from the vacuum, the subject of "narration"weaves and unweaves all the different levels of the text (or complex of texts), but instead of leaving the novel open-ended, it closes the text completely in a way similar to that of a puzzle. Severo Sarduy, in a way, picks up Cortazar's openness and entropy, implying a new opening through the devices of incessant metamorphosis of the text, as we can see, for instance, in Cobra.
2It is interesting to note that Three Trapped Tigers (Tres tristes tigres) by In The Autumn of the Patriarch we can notice a turning point in Garcia

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