A Very Old Man with Enormous Wings by Gabriel García Márquez

"Send me an angel, send me an angel, riiiight now."

This is a very famous short-story by one of the most recognizable Latin American authors of the 20th century. In comparison to John Cheever's "Reunion" that I reviewed earlier, my expectations soared even higher and it unequivocally surpassed them all (sorry, I couldn't resist). "A Very Old Man with Enormous Wings" by Gabriel García Márquez exemplifies the imaginative power of magical realism. Although this is not a literary genre that particularly appeals to me, Márquez has proven to be remarkably consistent in delivering such enchanting and thought-provoking stories all wrapped up in beautiful prose. Elements of the supernatural, mythology, fantasy, folklore, religious allegory and heavy symbolism are common in magical realism, which can all be found here. Yet, the author's approach feels fresh, polished and compact in his artistic vision--blurring the boundaries between the ordinary and the extraordinary, the real and the fantastical. 

A profound aura of wonder and mystery envelops the central figure, who descends miraculously from the heavens into a humble peasant farmer's backyard, nestled in an unnamed coastal hamlet. Swiftly capturing the fascination of the villagers, he is revered as a celestial being, an "angel" bestowed upon them. Yet, despite his angelic wings, he manifests as a frail elderly man, voiceless and enigmatic. Seizing upon this marvel, the farmer transforms it into a commercial venture, charging admission for spectators eager to behold this extraordinary creature, like some caged animal at a zoo.

I'll refrain from divulging further into the plot, as there's immense joy in uncovering it firsthand. However, the text invites myriad interpretative angles and a close-reading only enhances the reading experience. One intriguing aspect revolves around the arrival of the spider-woman, who swiftly steals the spotlight from the angel. This is where the magical realism of the story kicks into high gear. Unlike the taciturn old man, she communicates freely, sharing her poignant tale with the audience. This contrast accentuates the tension between the angel's enigmatic silence and the spider-woman's relatability to others through language. The juxtaposition of the angel's human and divine attributes further complicates perceptions of him. Trapped between realms, he embodies a liminal existence, neither fully embraced by humanity nor wholly recognized as an angel. In contrast, the spider-woman's narrative is steeped in folklore/fairytales ("a woman who had been changed into a spider for disobeying her parents"). As the focal point of a traveling carnival, she embodies a clear moral lesson, a cautionary tale of disobedience. Unlike the old man, who defies neat categorization within conventional Christian beliefs, she fits snugly into a recognizable narrative framework.

Both figures bear hybrid identities—the spider-woman, a curious blend of human and arachnid; the old man, a paradox of celestial and mortal qualities. Yet, it is the old man's contradictory nature and values that render him a misunderstood outcast, subjected to cruel mistreatment. Consequently, his eventual moment of transcendence resonates all the more powerfully, offering a poignant commentary on the complexities of acceptance, belonging, and redemption. 

A short-story masterpiece that lives up to the hype.