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"The infinite regression in One Hundred Years of Solitude is as follows: the reader is reading a story in which Aureliano Babilonia is reading that he is reading the story that the reader is reading, in which Aureliano Babilonia is reading that he is reading, and so on" (Trauvitch, 127).

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"Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth" (One Hundred Years of Solitude, 206).

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"Only then did he discover that Amaranta Úrsula was not his sister but his aunt, and that Sir Francis Drake had attacked Riohacha only so that they could seek each other through the most intricate labyrinths of blood until they would engender the mythological animal that was to bring the line to an end" (One Hundred Years of Solitude, 206).

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"Only when they turned him on his stomach did they see that he had something more than other men, and they leaned over to examine him. It was the tail of a pig" (One Hundred Years of Solitude, 204).

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"And then he saw the child. It was a dry and bloated bag of skin that all the ants in the world were dragging toward their holes along the stone path in the garden" (One Hundred Years of Solitude, 205.)

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"Not because he was paralyzed by horror but because at that prodigious instant Melquíades final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of mans time and space: The first of the line is tied to a tree and the last is being eaten by ants" (One Hundred Years of Solitutde, 205).

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"The bartender spoke to him about the misfortune of his arm. Aureliano spoke to him about the misfortune of his heart, withered and somewhat crumpled for having been raised against his sister" (One Hundred Years of Solitude, 204).

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"However, the only time the embedded fabula (the parchments) holds up a mirror to the mirror of the primary fabula (the novel) is when Aureliano Babilonia reads about himself reading" (Trauvitch, 128).

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"One Hundred Years of Solitude contains other instances of recursion. There are the examples of perennial creation and destruction: the goldfish are formed from the gold only to be melted again; the shroud is woven only to be unwoven again. These recursions are not only recursions in themselves, but also reflect the motif is solitude" (Trauvitch, 128).