This article provides a stylistic analysis of one of the key novels of the Latin American literary boom, "One Hundred Years of Solitude" written by García Márquez. The study is conducted within the framework of stylistic poetics. The relevance of the study lies in the significance of linguistic innovation for the literature of the 1960s, when writers in the region sought to create a new language to describe the complex and multidimensional reality of Latin America. The study utilizes J. Burrows' Zeta, which allows for the identification of distinctive vocabulary and a quantitative assessment of the stylistic differences between three of García Márquez's early major texts ("Falling Leaves," "Nobody Writes to the Colonel," "In Evil Hour") and One Hundred Years of Solitude. The analysis revealed that One Hundred Years of Solitude marks a shift from the objectivist, reportorial style of his earlier works to a more emotional, epic, and magical narrative. The key markers of this stylistic shift are: the prevalence of the neutral remark "dijo" instead of "respondió," the intensification of the themes of family and locus, an increase in abstract and temporal vocabulary, and a variety of verb tenses, particularly the active use of the imperfect. The data obtained empirically confirm literary scholarly observations about the turning point in García Márquez's work and clarify the linguistic devices that realize this stylistic shift, reflecting the transition from the particular to the universal, from reportage to artistic testimony to the "miraculous reality" of the continent.