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and catastrophes that had ever lashed mankind… But in spite of his immense wisdom and his mysterious breadth, he had a human burden, an earthly condition that kept him involved in the small problems of daily life”19. Although this exaggeration seems unreal for the modern world, it is absolutely normal for the fictitious world created by Marquez. The same regards other hyperboles, such as “it rained for four years, eleven months, and two days”20. Despite the fact that this hyperbole contradicts the existing reality, its accurate definition reveals the rigour of the catastrophe and implicitly points at the probable consequences of the occurred incident.

Thus, Marquez’s principal narrative tool is the mixture of fantasy and exaggeration presented through the fictitious reality, as is especially obvious in the following utterance: “The world was so recent that many things lacked names, and in order to indicate them it was necessary to point”21. However, despite its fantastic elements and its fictional setting in the place of Macondo, One Hundred Years of Solitude reveals the true historical past of Columbia and the ironical social reality.

As history is inseparably connected with culture, Marquez’s work demonstrates a profound historico-cultural context. Simultaneously, One Hundred Years of Solitude reflects a considerable impact of Kafka’s The Metamorphosis on the creative work of Marquez. While Kafka renovates the fable, adjusting it to the contemporary daily life, Marquez puts the fable within the strange, but familiar modern environment. In The Metamorphosis (Die Verwandlung) Franz Kafka portrays a person who leads a life created by his family and society, finally transforming into an insect.

In his surrealistic portrayal Kafka applies to symbolism, similar to Marquez, to demonstrate person’s alienation in the cruel reality and reveal that this reality is not exposed to any logic. Suffering from the constant domination of his father, Kafka turns to an implicit way of expression to oppose this terrifying control. In this regard, Kafka’s surrealism is expressed in the portrayal of mysterious and spiritual things through the bureaucratic perspective; while Marquez’s magical realism is revealed through the fictitious romanticism that uncovers real social and historical events of South America.

Like Marquez, Kafka bases The Metamorphosis on contradictions and absurdity, on the extremes of reality and fantasy; however, his manner of expression is gentle and inconsequent. At the same time, Kafka, similar to the author of One Hundred Years of Solitude, pay much attention to the details, intensifying the narration. On the other hand, while Marquez combines seriousness with irony in his interpretation of the occurred events, Kafka uncovers his story through a philosophical perspective. Every thought or dream in Kafka’s narration evokes certain reflections and emotions in readers; for instance, the following expressions reveal father’s attitude towards his son, as Gregor changes into a vermin: “His father knotted his fist with a fierce expression on his face as if he meant to knock Gregor back into his room”22 or “at any moment the stick in his father’s hand might hit him a fatal blow on the back or on the head”23.

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