By Elizabeth Lowe
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Seen from this hemispherically comprehensive perspective, the theme of solitude reveals itself to be so endemic to the New World experience that it appears, to a greater or lesser extent, as a defining aspect of its literature, especially from the late nineteenth century on. In Latin America, for example, major works by such figures as Márquez, Neruda, Paz, Fuentes, Vargas Llosa, Machado de Assis, Rosa, and Ribeiro cultivate it as the decisive motif of the American experience. And if One Hundred Years of Solitude stands out as the literary prototype of solitude in its New World context, then, as we will demonstrate in this chapter, several other canonical texts come very close to achieving the same status.
S. economic, political, and military intervention in their cultures. But while Márquez’s great novel exemplifies how the theme of solitude resonates throughout the Americas, its unique New World relevance manifests itself in two primary categories, modern America’s still unresolved relationship with its ancient indigenous past and its slowness in recognizing the importance of Canada and Brazil, the two nations most often left out when people begin to think about the inter-American paradigm. With respect to the Canadian situation, moreover, it is hard to imagine an American culture that receives less recognition than Québec, whose long struggle to “survive” as a distinct culture has exposed numerous affinities between the historical experience of the Québécois and that of not only Brazil but Macondo as well (see Atwood).
It is interesting, in this respect, to consider the possibility that the growth of reader-response criticism in the 16 Translation and the Rise of Inter-American Literature United States of the late 1960s and early 1970s had, on balance, an adverse effect on the ways Latin American literature was being received, on the critical terms under which it was being read and under which its “meaning” was being adduced—by a culture not only alien to it but largely antipathetic as well. Because, for the Fish-oriented reader-response critics, meaning had become a function not of the text itself but of the reader’s experience of it, the reader’s consciousness began to emerge as the most important factor in the process of reading.