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作者简介
加夫列尔·加西亚·马尔克斯(Gabriel García Márquez)，1927年出生于哥伦比亚马格达莱纳省的海滨小镇阿拉卡塔卡。童年时，他与外祖父母一起生活。1937年外祖父去世后，他随父母迁居玻利维亚的首都苏克雷。1947年，他考入哥伦比亚的波哥大国立大学法律专业，并开始文学创作。1948年，他因哥伦比亚内战而中途辍学，由此进入报界。
作为记者的马尔克斯在非小说题材及短篇小说领域成绩斐然，然而使他声名鹊起的主要是其长篇小说，代表作包括《百年孤独》(One Hundred Years of Solitude)、《族长的没落》(The Autumn of the Patriarch)，以及《霍乱时期的爱情》(Love in the Time of Cholera)。其中，以《百年孤独》最为著名。本文将为读者介绍的就是这部被誉为“再现拉丁美洲历史社会图景的鸿篇巨著”。
1982年，马尔克斯获得诺贝尔文学奖。作为世界文学史上最伟大的西班牙语系作家之一以及拉丁美洲魔幻现实主义文学的代表人物，他的作品在评论界和普通读者中都广受赞誉。2014年4月17日，87岁的马尔克斯在墨西哥家中去世。
作品赏析
在英文中，solitude一词具有双重含义，既可指由于疾病、疏离或失去挚亲好友所造成的“孤独之悲”，又可用于表达远离干扰、回归内心、在沉思中与自我对话，最终知己任、明是非的“孤独之喜”。就这个意义而言，以solitude为题的《百年孤独》，可谓是一段用“孤独之喜”对“孤独之悲”进行描述、评判，乃至对其出路进行探索的文学之旅：通过对布恩迪亚家族七代人横跨百年的“孤独之悲”进行讲述，马尔克斯不仅在个人层面开启了为自己的童年回忆寻找文学归宿的自我对话，更将其扩大到人性层面——为拉丁美洲甚至全人类的“孤独之悲”撰写了微缩编年史，传递出的是爱与幸福的可能性、团结取代孤独的重要性，以及对生命的丰沛足以抵御死亡侵袭的信念。
《百年孤独》的故事背景设定在小镇马孔多。参与小镇创立的何塞·阿尔卡蒂奥·布恩迪亚和乌尔苏拉·伊瓜兰本是表兄妹，后又结为夫妻，他们在担心近亲联姻会生下怪物的焦虑中成为布恩迪亚家族的第一代。由于缺乏爱的引导，布恩迪亚家族虽然香火旺盛，却世代重复着孤独和受挫的命运。布恩迪亚家族的男人们狂热昏愦，沉迷于战争、斗鸡、女人和不切实际的事业；而家族的女人们则比男人们理智清醒，用刚毅和坚忍维持着家中的日常秩序。在整整一个世纪的时间里，小镇马孔多饱受疫病、战乱、权力斗争以及商业盘剥的侵袭，由最初万象皆新的希望之所逐渐走向凋敝。最后，布恩迪亚家族迎来了它唯一由爱情孕育而生的后代，却应验了家族最初的担忧——生了一个长着猪尾巴的孩子。在小说结尾，“不懂爱情，不通人道”的布恩迪亚家族连同始建于荒漠沼泽旁的小镇马孔多，一并消失在了飓风里——作者用一个毁灭性的结尾结束了整个故事。
作为一部人物众多、场面宏大、结构精巧的小说，《百年孤独》自连载时期就备受瞩目，一经出版更是在国际范围引起了轰动，为作者赢得了巨大的财富和声誉。然而对马尔克斯而言，这本成为他创作生涯转折点的书“根本不是什么一本正经的作品”，更像是一本汇集了其不同生活阶段中孤独之“悲”与“喜”的私人影像集：书中那种隐去了现实与想象界限的叙述手法，是作者自童年时代起就熟悉的外祖母讲故事的方式；而全书开篇处“一个老头带着一个小男孩儿去见识冰块”的中心意象，则源自马尔克斯与曾当过上校军官的外祖父共处的珍贵回忆；由于“香蕉热”而热闹一时的小镇马孔多，也与一度挤满了美国联合果品公司运载香蕉列车的小镇阿拉卡塔卡别无二致；正是在阿拉卡塔卡小镇中，幼年时寄居在外祖父母家的马尔克斯体会到了最初的孤单与静谧。
如果说马尔克斯童年的经历为《百年孤独》赋予了脉络和神采，这部从构思到成书历时15年之久的小说，还将从其求学与工作时代的孤寂与探索中寻求骨骼和肌理。这个从13岁开始只身前往哥伦比亚首都波哥大的穷学生，在离别的忧伤中，从诗歌和小说里找到了慰藉；这个在巴兰基利亚的报社编辑部里独自打字到天亮的青年记者，在对未来的迷茫中投身到了写作这个世界上最孤独的职业里。在《百年孤独》一书成稿之时，马尔克斯之前的作品并没有获得大范围的认可，他的家中生活拮据，靠赊欠度日。《百年孤独》所带来的巨大成功，仿佛是上天对这个在孤独中不懈探索“悲”与“喜”的作家的奖赏。
然而，对马尔克斯来说，《百年孤独》所见证的是其妻子梅赛德斯及家人爱的守候，是前辈作家和同辈友人心意相通的理解，更是他本人用坚忍不拔的精神和日益精湛的写作技巧在“孤独之喜”的回望、沉思与对话中，为自己所体验的“孤独之悲”找到了和解性的文学归宿。
马尔克斯在接受好友门多萨的一次访谈时说道，《百年孤独》所要讲述的“孤独”在本质上是“爱的缺失”，是“团结的反义词”。成名后，“孤独”这一主题不仅没有从马尔克斯的作品中消失，反而愈发清晰地出现在其作品中，这成为他履行身为作家和名人的公众责任的某种方式。正如马尔克斯所言，“我经过长时间的思考，终于懂得了，我的职责不仅仅是反映我国的政治和社会现实，而且要反映本大陆乃至全世界的现实，决不忽略或轻视任何一个方面”。
如果说《百年孤独》是马尔克斯对拉丁美洲“巨大然而徒劳的奋斗”的总结宣言，其后问世的《族长的没落》则着眼于“权力的孤独”，矛头直指政治上的暴君和独裁统治；而发表于1985年的《霍乱时期的爱情》，则用一段跨越半个多世纪的故事，展现了作为孤独反面的爱情所拥有的种种可能性。
在马尔克斯的诺贝尔文学奖获奖致辞中，他这样说道：“面对压迫、掠夺和孤单，我们的回答是生活。无论是洪水还是瘟疫，无论是饥饿还是社会动荡，甚至还有多少个世纪以来的永恒的战争，都没有能够削弱生命战胜死亡的牢固优势。”在马尔克斯的笔下，个体的“孤独之悲”并不源自于生命的匮乏与荒凉，与之相反，生命总是以一种丰沛而繁茂的增长得以呈现，而这样一种汹涌的力量，需要经由爱的指引，才能不失于莽撞，更需要依靠团结的支撑，才能走向幸福的普惠之地。
英文节选
注：节选部分选自小说开头，主要描述了马孔多小镇的居民对新鲜事物的好奇，尤其描写了小镇的创始人之一何塞·阿尔卡蒂奥·布恩迪亚(José Arcadio Buendía)对磁铁和放大镜的痴迷。
Many years later, as he faced the firing squad, Colonel Aureliano Buendía (奥雷里亚诺·布恩迪亚上校，性格寡淡，小说中布恩迪亚家族的第二代，是何塞·阿尔卡蒂奥·布恩迪亚的次子) was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe (土砖) houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point. Every year during the month of March a family of ragged gypsies (吉普赛人) would set up their tents near the village, and with a great uproar of pipes and kettledrums they would display new inventions. First they brought the magnet (磁铁). A heavy gypsy with an untamed beard and sparrow hands, who introduced himself as Melquíades (梅尔基亚德斯，吉卜赛人，后与何塞·阿尔卡蒂奥·布恩迪亚结为好友), put on a bold public demonstration of what he himself called the eighth wonder of the learned alchemists (炼金术士) of Macedonia. He went from house to house dragging two metal ingots and everybody was amazed to see pots, pans, tongs (钳子；夹剪), and braziers (火盆) tumble down from their places and beams creak from the desperation of nails and screws trying to emerge, and even objects that had been lost for a long time appeared from where they had been searched for most and went dragging along in turbulent confusion behind Melquíades’ magical irons. “Things have a life of their own,” the gypsy proclaimed with a harsh accent. “It’s simply a matter of waking up their souls.” José Arcadio Buendía, whose unbridled imagination always went beyond the genius of nature and even beyond miracles and magic, thought that it would be possible to make use of that useless invention to extract gold from the bowels of the earth. Melquíades, who was an honest man, warned him: “It won’t work for that.” But José Arcadio Buendía at that time did not believe in the honesty of gypsies, so he traded his mule and a pair of goats for the two magnetized ingots. Úrsula Iguarán (乌尔苏拉·伊瓜兰，是何塞·阿尔卡蒂奥·布恩迪亚的妻子，精明能干), his wife, who relied on those animals to increase their poor domestic holdings, was unable to dissuade him. “Very soon we’ll have gold enough and more to pave the floors of the house,” her husband replied. For several months he worked hard to demonstrate the truth of his idea. He explored every inch of the region, even the riverbed, dragging the two iron ingots along and reciting Melquíades’ incantation ( 咒语) aloud. The only thing he succeeded in doing was to unearth a suit of fifteenth-century armor which had all of its pieces soldered together with rust and inside of which there was the hollow resonance of an enormous stone-filled gourd. When José Arcadio Buendía and the four men of his expedition managed to take the armor apart, they found inside a calcified (钙化的；石灰化的) skeleton with a copper locket containing a woman’s hair around its neck.
In March the gypsies returned. This time they brought a telescope and a magnifying glass (放大镜) the size of a drum, which they exhibited as the latest discovery of the Jews of Amsterdam. They placed a gypsy woman at one end of the village and set up the telescope at the entrance to the tent. For the price of five reales (里亚尔，旧时西班牙的货币单位), people could look into the telescope and see the gypsy woman an arm’s length away. “Science has eliminated distance,” Melquíades proclaimed. “In a short time, man will be able to see what is happening in any place in the world without leaving his own house.” A burning noonday sun brought out a startling demonstration with the gigantic magnifying glass: they put a pile of dry hay in the middle of the street and set it on fire by concentrating the sun’s rays. José Arcadio Buendía, who had still not been consoled for the failure of his magnets, conceived the idea of using that invention as a weapon of war. Again Melquíades tried to dissuade him, but he finally accepted the two magnetized ingots and three colonial coins in exchange for the magnifying glass. Úrsula wept in consternation (惊愕；惊惶失措). That money was from a chest of gold coins that her father had put together over an entire life of privation and that she had buried underneath her bed in hopes of a proper occasion to make use of it. José Arcadio Buendía made no attempt to console her, completely absorbed in his tactical experiments with the abnegation (克制) of a scientist and even at the risk of his own life. In an attempt to show the effects of the glass on enemy troops, he exposed himself to the concentration of the sun’s rays and suffered burns which turned into sores that took a long time to heal. Over the protests of his wife, who was alarmed at such a dangerous invention, at one point he was ready to set the house on fire. He would spend hours on end in his room, calculating the strategic possibilities of his novel weapon until he succeeded in putting together a manual of startling instructional clarity and an irresistible power of conviction. He sent it to the government, accompanied by numerous descriptions of his experiments and several pages of explanatory sketches … In spite of the fact that a trip to the capital was little less than impossible at that time, José Arcadio Buendía promised to undertake it as soon as the government ordered him to so that he could put on some practical demonstrations of his invention for the military authorities and could train them himself in the complicated art of solar war. For several years he waited for an answer.