Introduction
Gabriel Garcia Marquez’s story “A Very Old Man with Enormous Wings” is an ideal example of magic realism. Magic realism is a literary device in which mystical and magical elements are woven into a realistic narrative. An example of mystical realism in Marquez’s story is the central figure of an old man endowed with mystical powers, who is a positive character in contrast to the villagers.
Although Marquez’s stories tend to be mysterious, they can also be interpreted as critiques of human nature. The ending of the story demonstrates the author’s moral that humanity is cruel. Marquez’s stories in the genre of mystical realism illustrate cruel human behavior that does not deserve kindness in return.
Magic Realism in the Story
The story is an intriguing illustration of the magic realism subgenre. The author creates an unusual, thought-provoking atmosphere by using imagery and symbolism. Among the examples of this is the elderly man with large wings.
Magic realism is demonstrated by the author’s decision to describe the man mysteriously. From the beginning, the readers observe the unusual environment. This is demonstrated by the scene in which Pelayo and Elisenda meet and the old man with wings, whom they thought was “a lonely castaway from some foreign ship wrecked by the storm” (Marquez 1).
The locals suspect the man to be an angel, but he has no similar external characteristics, which makes people only guess about his nature (Alhawamdeh et al. 454). The old man’s wings are also never explained, heightening the story’s strange and awe-inspiring atmosphere. The locals are first skeptical about the stranger’s wings, but as the narrative goes on, they believe them to be real. This gradual change in perception emphasizes the importance of faith and people’s capacity for adaptation to the unknowable.
The character’s healing abilities are another illustration of magic realism in the narrative. The old man’s capacity to heal the ill and wounded with the help of his wings astounds the locals. However, at first, the locals are frightened of the hero and imprison him in a chicken coop, which can be interpreted as a reflection of human nature’s propensity to reject that which is unfamiliar to them (Tiwari 31). Then, readers start harassing the old man, demanding that he heal them, which is “more like mocking fun” (Marquez 3). Overall, the story illustrates the magic realism subgenre, and the author skillfully uses literary devices to conjure an alien yet comfortable environment.
The Central Figure
The old man is a genuinely intriguing character in the story. His enigmatic nature and the absence of knowledge about him only heighten his allure. He seems to be a more significant figure than just an ancient man with large wings. Despite his odd appearance, he exudes a peaceful and loving aura that everyone can feel. He cannot speak the local language, but he interacts with the villagers by using gestures and facial expressions, which in and of itself is proof of the effectiveness of nonverbal communication (Tiwari 32).
The hero stands for the mysterious and unknowable in the story. At the same time, he proceeds to symbolize the human spirit and the good side of humanity. As seen by his perseverance and potential for growth in the face of adversity, the human soul is capable of flourishing and finding ways to escape difficulties.
Interpretation of the Ending
The story’s finale is quite unclear and subject to interpretation. The image of the old man also cannot be given an unambiguous interpretation since he is both emphatically weak and endowed with supernatural powers (Alhawamdeh et al. 454). The main character unexpectedly vanishes, flying away from the village one day. Some might view the conclusion as a symbol of the strength of the unknowable, where the old man’s wings represent human greatness and the uncharted possibilities of existence. In this sense, the elderly man’s absence may be seen as a representation of the human spirit’s boundless potential.
However, it is more likely that the conclusion is a critique of human nature. The old man with the healing wings can be generally seen as a gift to the villagers who could put such an ability to the community’s good. However, due to human nature to fear, reject everything unknown, and harass those who are different, the villagers were punished. The punishment was the disappearance of the old man with the wings. The figure of the old man may have been introduced into the narrative to accommodate the negative reactions of the locals and to demonstrate their vicious behavior (Alhawamdeh et al. 454).
The locals forced the hero to heal others as a part of spectacles, humiliating, disrespecting, and exploiting the man. Regardless of the interpretation, it is still true that the elderly man’s abrupt withdrawal marks a significant turning point in the narrative. The audience must consider the importance of the old man’s wings and the ramifications of his mysterious disappearance on their own.
Conclusion
Hence, the man with the wings was a genuine miracle in the story; he could heal the sick and injured, but the villagers’ harassment of him resulted in his leaving, demonstrating how unkind and vicious people can be. An example of magic realism in the story may be seen in the character’s wings and healing powers. The old man in the story is a fascinating figure. His mysterious character and lack of information about him only serve to increase his attractiveness.
The conclusion of the narrative is ambiguous and open to several interpretations. However, the conclusion is more likely to be a criticism of human nature.
Works Cited
Alhawamdeh, Hussein A., Haitham M. Talafha, and Marwan Jarrah. “Stylistic Narrative of ‘Otherness’: A Study of Power Relations in John Steinbeck’s ‘The Murder’ and Gabriel García Márquez’s ‘A Very Old Man with Enormous Wings’.” Dirasat, Human and Social Sciences, vol. 46, no. 4, 2019, pp. 449-459. Web.
García Márquez, Gabriel. A Very Old Man with Enormous Wings. United Kingdom, Penguin Books, 2014.
Tiwari, Mahesh Chandra. “Magic Realism in the Works of Isabel Allende and Gabriel García and Laura Esquivel.” The Creative Launcher, vol. 6, no. 5, 2021, pp. 30-37. Web.