In the final pages of Cien años de soledad (1967), when narrating the relationship between Amaranta Úrsula and Aureliano Babilonia, there appears suddenly but then recurrently the theme of anthropophagy. My argument intends to demonstrate that the introduction of this trope is not inconsequential: the novel is ultimately an immense experience of anthropophagy. This text, through the comparison of the languages utilized in Cien años de soledad and the paint Abaporu (1928), aspires to inquire about the impure and iterable nature of these creations in order to make apparent that every reformulation of identity is, in the arts, a linguistic reordering where the boundaries between creator and spectator-reader are in each instance more diffuse.