The group of writers in Latin America is neither represented by one person nor composed of a few people, but simply a huge family.

These writers belong to different countries, but they seem to have some kind of blood relationship as a mysterious link to maintain the telepathy between each other.

More importantly, their works are as lush as tropical plants, highlighting some rare wildness.

To be sure, these are some masters with excess vitality.

They were born on the same continent, which is a miracle in itself.

This shows the extraordinary fertility of this land.

The literary gods in Latin America, whether angry, ecstatic, melancholy or painful, give people the impression of a heart beating like a drum.

They walk in the open air, not in the temple, but in the flesh.

A group of Latin American writers traveled from Cuernavaca to Acapulco.

Garcia Marquez said to Carlos Fuentes, “we are all writing the same Latin American Novel: I write a chapter on Colombia, you write a chapter on Mexico, Julio cotasal writes a chapter on Argentina, Jose donoso writes a chapter on Chile, Alejo Carpentier writes a chapter on Cuba.

” this is a wonderful metaphor.

As if adhering to the will of heaven, they met unexpectedly and became the author of the same book.

Fuentes named the book “the Bible of Latin America”.

Yes, they jointly created the literary Bible of Latin America.

Therefore, this is a sacred family of collective work.

Ortero Silva of Venezuela traced the origin of the trend of Latin American Novels: “as early as 1930, great muralists of novels appeared.

Their works are the reflection of American nature, American violence and American people’s enthusiasm.

” He described Latin American novelists as great muralists, which aroused my sympathy.

Latin American novels can produce mural like effects in particular: Marquez’s “one hundred years of solitude”, Llosa’s “green house”, cotasal’s “winning lottery” and “throwing money game”, Asturias’s “corn man”, Carpentier’s “lost footprints”.

Are all surging narrative scrolls, Moreover, the human survival scene is painted with magical colors – these are some phosphorescent murals, emitting the smell of bleeding, rust, burnt paste, grain and ore.

I couldn’t help taking a deep breath and realized that there was still a kind of spicy novel.

Magic realism literature in Latin America is a platter of spicy food.

I finally found a broader and more longitudinal picture than Joyce’s Ulysses and Proust’s recalling the passing years – that’s the difference between a picture painted on the wall and a picture painted on cloth.

More importantly, each mural is an integral part of a larger mural, subject to a broader theme.

Borges, who has never written a novel, may not be a mural painter, but is good at small decorative paintings, or he depicts some pocket murals.

The plots of his short stories seem to be embedded in the mirror frame and dotted with the indoor scenery, so they always give people the feeling of still life.

I suspect that he spent his whole life in a studio lit by lights rather than painting outdoors.

But his ability to infuse still life with vitality is simply a divine intention.

After Neruda, the Latin American poets who won the literature prize were Mistral and PAS.

Mistral is a typical goddess, “her lyric poetry with strong feelings makes her name an ideal symbol of the whole Latin America” (reason for winning the award).

She chanted the mother and children, becoming a clear head in emotional embroidery.

Mistral is the most careful poetess.

PAS is a rough male god.

He holds out a sun stone (poet’s heart), which obviously has no artificial polishing and has natural patterns.

His poetic ideals, It can be found from his praise of Mexican poet lesama Lima: “His poetry is an ocean of form, a pot of Latin American broth: all the land animals and sea animals floating in Spanish, all languages and all styles.

This pot of boiling form is both tempting and terrible.

Lesama Lima widened the boundaries of his works, and he dedicated his readers not a book, but all the surviving works.

” But in PAS’s own soup, there are not only stewed meat, but also hard bones that can’t be stewed.

He transcended all Latin American poets before him and became the sun god of local poetry.

His award-winning speech is called “the search for the present”: “in the long journey of seeking modernity, I have been lost many times and found that modernity is not outside, but inside us.

It is today and the oldest ancient times.

it is tomorrow and the beginning of the world.

it has lived for thousands of years, but it has just been born.

” I can’t tell whether PAS is pursuing a very ancient modern poem or a very modern classical poem.

Perhaps, the nature of this time-space hybrid is the literary tradition of Latin America.

The literary gods in Latin America are a mixture of history and reality, memory and fantasy.

Marquez is undoubtedly the leader of magic realism literature in Latin America.

When the Swedish Academy of Arts awarded him the Nobel Prize for literature, it pointed out: “he created a unique world, that is, the world around marcondo, the town he invented.

Since the late 1950s, his novels have led us into this strange place.

There are incredible miracles and the purest real life.

” He especially stressed: “like most important Latin American writers, he firmly stands on the side of the poor and the weak.

” While praising Marquez, it also praises the literary gods in Latin America.

Therefore, Marquez believes that this is by no means his own personal credit: “I think the Nobel literature prize selection committee shows that they have attached importance to Latin American literature by rewarding me.

And they reward me as a way to reward the whole Latin American literature.

” This is not diplomatic rhetoric, it is indeed his heart.

The roots of Latin American writers are closely connected under fertile strata.

You have me and I have you.

Their cooperation shows the magical reality of the same continent.

If magic realism is a literary God making movement, it will not only create a God, but a group of magnificent giants.

This is a group of giants.

The so-called “explosive literature” is actually caused by the energy of cluster grenades, or it ignites the whole literary ammunition depot in Latin America.

The first magic realist writer to win the Nobel Prize for literature was actually Asturias of Guatemala.

Some people say he is the founder of Latin American magic realism.

His first novel, Mr.

President, depicts a great dictator and a modern tyrant.

His best novel should be the corn man.

In this novel, he successfully uses some allusions in the classic Indian works “poporu” and “chelon Barron” to describe the contradiction and struggle between the Indian aborigines and the white colonists.

Of course, he is also on the side of the poor and the weak.

Latin American literary masters have the compassion of God and the attention to the victims.

They are a group of masters with both divinity and Genius: they have established order in chaos, expressed reality in magic, and found truth in all kinds of fallacies in the world.