Gabriel García Márquez is famous for popularizing what is now referred to as “magical realism”—a genre that incorporates supernatural elements into an otherwise prosaic setting. Many of García Márquez’s works feature this strategic mixture of fantasy and reality, which he learned from his superstitious grandmother, who told stories in such a way that the supernatural seemed almost natural and mundane. Such is the case in this story, whose title speaks matter-of-factly about a seemingly supernatural being—an old man who simply happens to have enormous wings. His wings do attract attention within the story, as many characters first view him as a circus attraction. However, by the story’s end, the novelty of his wings disappears even for them.

García Márquez was politically left-leaning, and although this story is subtitled “A Tale for Children,” it’s useful to consider its historical and cultural context. Around the time of the story’s publication, both Colombia and Venezuela—where García Márquez was living—were in a state of civil unrest. Seeing people persecuted, imprisoned, and killed for their political beliefs made García Márquez especially aware of the consequences of perceived social differences. These differences become physical and linguistic in the story; the old man is ostracized because he has broken wings and cannot communicate in the townspeople’s language.