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For instance, Rebeca’s recollections of the past result in her inability to forget her loss of a husband; instead of leading normal life, she isolates herself from other members of society. Rebeca is not able to accept the occurred changes, constantly returning to her past. In contrast to Rebeca, the writer implements the character of Colonel Aureliano Buendia, a person who lacks any recollections. The protagonist’s existence is connected only with the infinite present; in fact, all members of the Buendias family suffer either from amnesia or from nostalgia, depriving themselves of their present and future. Thus, both Gabriel Garcia Marquez and Franz Kafka raise an important issue of human existence, the issue that emerged in the post-modern period to find out the real meaning of life.

Masterfully combining reality with fantasy, Marquez complicates his narration; for instance, the real narrator of One Hundred Years of Solitude appears to be Melquiades who can hardly be regarded as a protagonist of Marquez’s novel. Melquiades performs an imaginative role within the narration, producing different and rather contradictory images, such as the images of a wise person, a trader, God and devil.

However, by the end of the novel Marquez uncovers the truth in regard to Melquiades, simultaneously proving that natural and supernatural exist in the total equality. In The Metamorphosis Kafka applies to a different literary technique; in particular, he implicitly identifies his narrator with the principal character, although these are two different individuals. As the narrator reveals the deepest mechanisms of Gregor’s mind, he demonstrates that his own thoughts and feelings are embodied in the portrayal of this protagonist.

For instance, Franz Kafka provides the following description: “His [Gregor’s] numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes”42. Such literalness is one of the most important features of Kafka’s surrealism; the writer’s attempt to plunge into the essence of every word and phrase results in the formation of a solid, but at the same time delicate style. Introducing an impressive symbolic portrayal of personal hopelessness and doubts, Kafka places The Metamorphosis in the central position among other surrealistic literary works. The symbol of a person who is transformed into a vermin reveals not only Kafka’s neurotic state of mind, but also the essence of the contemporary world that causes the spread of various mental diseases.

As Philip Rahv points out, in The Metamorphosis Franz Kafka “succeeds in objectifying through imaginative means the states of mind typical of neurosis and hence in incorporating his private world into the public world we live in”43. These mental diseases are also discussed by Gabriel Garcia Marquez who characterises the major protagonists of One Hundred Years of Solitude as people who are obsessed with the past and yearn for their future, revealing their inability to live in the present.

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