Gabriel García Márquez

Gabriel García Márquez

Gabriel García Márquez in 2002

Born Gabriel José de la

Concordia García Márquez

6 March 1927

Aracataca, Colombia

Died 17 April 2014 (aged 87)

Mexico City, Mexico

Nationality Colombian

Education University of Cartagena

Genres Novels, short stories

Literary

movement

Latin American Boom,

magic realism

Notable

work(s)

One Hundred Years of

Solitude, The Autumn of

the Patriarch, Love in the

Time of Cholera

Notable

award(s)

Nobel Prize in

Literature

1982

Gabriel García MárquezFrom Wikipedia, the free encyclopedia

Gabriel José de la Concordia GarcíaMárquez (American Spanish: [ɡaˈβɾjelɣarˈsi.a ˈmarkes] audio ; 6 March 1927 –17 April 2014) was a Colombian novelist,short-story writer, screenwriter andjournalist, known affectionately as Gabothroughout Latin America. Consideredone of the most significant authors of the20th century, he was awarded the 1972Neustadt International Prize forLiterature and the 1982 Nobel Prize in

Literature.[1] He pursued a self-directededucation that resulted in his leaving lawschool for a career in journalism. Fromearly on, he showed no inhibitions in hiscriticism of Colombian and foreignpolitics. In 1958, he married MercedesBarcha; they had two sons, Rodrigo and

Gonzalo.[2]

García Márquez started as a journalist,and wrote many acclaimed non-fictionworks and short stories, but is best knownfor his novels, such as One Hundred Yearsof Solitude (1967), The Autumn of thePatriarch (1975) and Love in the Time ofCholera (1985). His works have achievedsignificant critical acclaim andwidespread commercial success, mostnotably for popularizing a literary stylelabeled as magic realism, which usesmagical elements and events in otherwiseordinary and realistic situations. Some ofhis works are set in a fictional villagecalled Macondo (the town mainly inspiredby his birthplace Aracataca), and most ofthem explore the theme of solitude.

Contents

Gabriel García Márquez - Wikipedia, the free enc... http://en.wikipedia.org/w/index.php?title=Gabrie...

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Spouse(s) Mercedes Barcha Pardo

Children Rodrigo García Barcha,

Gonzalo García Barcha

Signature

1 Biography1.1 Early life1.2 Journalism

1.2.1 The Story of aShipwrecked Sailor

1.3 QAP1.4 Marriage and family1.5 Leaf Storm1.6 One Hundred Years ofSolitude1.7 Fame1.8 Autumn of the Patriarch1.9 Chronicle of a DeathForetold1.10 Love in the Time ofCholera1.11 News of a Kidnapping1.12 Living to Tell the Tale andMemories of My MelancholyWhores1.13 Film and opera1.14 Declining health anddeath

2 Style2.1 Realism and magicalrealism

3 Motifs3.1 Solitude3.2 Macondo3.3 La violencia

4 Legacy4.1 Nobel Prize

5 List of works5.1 Novels5.2 Novellas5.3 Short story collections5.4 Non-fiction

6 See also7 References8 Bibliography9 Further reading10 External links


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García Márquez billboard inAracataca: "I feel LatinAmerican from whatevercountry, but I have neverrenounced the nostalgia ofmy homeland: Aracataca, towhich I returned one day anddiscovered that betweenreality and nostalgia was theraw material for my work".—Gabriel García Márquez

10.1 Films

Biography

Early life

Gabriel García Márquez was born on 6 March

1927[3] in Aracataca, Colombia, to Gabriel Eligio

García and Luisa Santiaga Márquez.[4] Soon afterGarcía Márquez was born, his father became apharmacist and moved, with his wife, to

Barranquilla, leaving young Gabito in Aracataca.[5]

He was raised by his maternal grandparents, DoñaTranquilina Iguarán and Colonel Nicolás Ricardo

Márquez Mejía.[6] In December 1936, his fathertook him and his brother to Sincé, while in March1937, his grandfather died; the family then movedfirst (back) to Barranquilla and then on to Sucre,

where his father started up a pharmacy.[7]

When his parents fell in love, their relationshipmet with resistance from Luisa SantiagaMárquez's father, the Colonel. Gabriel EligioGarcía was not the man the Colonel had envisionedwinning the heart of his daughter: he (GabrielEligio) was a Conservative, and had the reputation

of being a womanizer.[8][9] Gabriel Eligio wooedLuisa with violin serenades, love poems, countless letters, and even telegraphmessages after her father sent her away with the intention of separating theyoung couple. Her parents tried everything to get rid of the man, but he kept

coming back, and it was obvious their daughter was committed to him.[8] Her

family finally capitulated and gave her permission to marry him[10][11] (Thetragicomic story of their courtship would later be adapted and recast as Love in

the Time of Cholera.[9][12])

Since García Márquez's parents were more or less strangers to him for the first

few years of his life,[13] his grandparents influenced his early development very

strongly.[14][15] His grandfather, whom he called "Papalelo",[14] was a Liberal

veteran of the Thousand Days War.[16] The Colonel was considered a hero by

Colombian Liberals and was highly respected.[17] He was well known for his


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refusal to remain silent about the banana massacres that took place the year

García Márquez was born.[18] The Colonel, whom García Márquez described as

his "umbilical cord with history and reality,"[19] was also an excellent

storyteller.[20] He taught García Márquez lessons from the dictionary, took him tothe circus each year, and was the first to introduce his grandson to ice—a

"miracle" found at the United Fruit Company store.[21] He would also occasionally

tell his young grandson "You can't imagine how much a dead man weighs",[22][23]

reminding him that there was no greater burden than to have killed a man, alesson that García Márquez would later integrate into his novels.

García Márquez's political and ideological views were shaped by his grandfather's

stories.[22] In an interview, García Márquez told his friend Plinio ApuleyoMendoza, "my grandfather the Colonel was a Liberal. My political ideas probablycame from him to begin with because, instead of telling me fairy tales when I wasyoung, he would regale me with horrifying accounts of the last civil war that

free-thinkers and anti-clerics waged against the Conservative government."[24][25]

This influenced his political views and his literary technique so that "in the sameway that his writing career initially took shape in conscious opposition to theColombian literary status quo, García Márquez's socialist and anti-imperialistviews are in principled opposition to the global status quo dominated by the

United States."[26]

García Márquez's grandmother, Doña Tranquilina Iguarán Cotes, played anequally influential role in his upbringing. He was inspired by the way she "treated

the extraordinary as something perfectly natural."[27] The house was filled with

stories of ghosts and premonitions, omens and portents,[28] all of which were

studiously ignored by her husband.[14] According to García Márquez she was "the

source of the magical, superstitious and supernatural view of reality".[19] Heenjoyed his grandmother's unique way of telling stories. No matter how fantasticor improbable her statements, she always delivered them as if they were theirrefutable truth. It was a deadpan style that, some thirty years later, heavily

influenced her grandson's most popular novel, One Hundred Years of Solitude.[29]

Journalism

García Márquez began his career as a journalist while studying law at theNational University of Colombia. In 1948 and 1949 he wrote for El Universal inCartagena. Later, from 1950 until 1952, he wrote a "whimsical" column under the

name of "Septimus" for the local paper El Heraldo in Barranquilla.[30] GarcíaMárquez noted of his time at El Heraldo, "I'd write a piece and they'd pay me

three pesos for it, and maybe an editorial for another three."[31] During this time


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he became an active member of the informal group of writers and journalistsknown as the Barranquilla Group, an association that provided great motivationand inspiration for his literary career. He worked with inspirational figures suchas Ramon Vinyes, whom García Márquez depicted as an Old Catalan who owns a

bookstore in One Hundred Years of Solitude.[32] At this time, García Márquez wasalso introduced to the works of writers such as Virginia Woolf and WilliamFaulkner. Faulkner's narrative techniques, historical themes and use of rural

locations influenced many Latin American authors.[33] The environment ofBarranquilla gave García Márquez a world-class literary education and providedhim with a unique perspective on Caribbean culture. From 1954 to 1955, GarcíaMárquez spent time in Bogotá and regularly wrote for Bogotá's El Espectador. Hewas a regular film critic which drove his interest in film.

In december 1957 García Márquez accepted a position in Caracas in thenewspaper El Momento. He arrived to the Venezuelan capital on 23 December1957, and began working right away at El Momento. García Márquez alsoassisted in the 1958 Venezuelan coup d'état, leading to the exile of the presidentMarcos Pérez Jiménez. Following this event, García Márquez wrote an article,"The participation of the clergy in the struggle", describing the Church ofVenezuela opposition against Jiménez's regime. In March 1958 he made a trip toColombia, where he married Mercedes Barcha and together they came back toCaracas. in May 1958, disagreeing with the owner of Momento, he resigned andbecame shortly afterwards editor of the newspaper Venezuela Gráfica.[citation needed]

The Story of a Shipwrecked Sailor

Main article: The Story of a Shipwrecked Sailor

Ending in controversy, his last domestically written editorial for El Espectador

was a series of fourteen news articles[32][34] in which he revealed the hidden storyof how a Colombian Navy vessel's shipwreck "occurred because the boatcontained a badly stowed cargo of contraband goods that broke loose on the

deck."[35] García Márquez compiled this story through interviews with a young

sailor who survived the shipwreck.[34] The publication of the articles resulted inpublic controversy, as they discredited the official account of the events, whichhad blamed a storm for the shipwreck and glorified the surviving sailor.

In response to this controversy El Espectador sent García Márquez away to

Europe to be a foreign correspondent.[36] He wrote about his experiences for ElIndependiente, a newspaper which had briefly replaced El Espectador during the

military government of General Gustavo Rojas Pinilla[37] and was later shut down

by Colombian authorities.[33] García Márquez's background in journalism


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provided a foundational base for his writing career. Literary critic Bell-Villadanoted, "Owing to his hands on experiences in journalism, García Márquez is, of all

the great living authors, the one who is closest to everyday reality."[38]

QAP

García Márquez was one of the original founders of QAP, a newscast that aired

between 1992 and 1997.[39] He was attracted to the project by the promise ofeditorial and journalistic independence.

Marriage and family

García Márquez met Mercedes Barcha while she was in college; they decided towait for her to finish before getting married. When he was sent to Europe as aforeign correspondent, Mercedes waited for him to return to Barranquilla. They

were finally wed in 1958.[40][41] The following year, their first son, Rodrigo García,

now a television and film director, was born.[41] In 1961, the family traveled byGreyhound bus throughout the southern United States and eventually settled in

Mexico City.[42] García Márquez had always wanted to see the Southern United

States because it inspired the writings of William Faulkner.[43] Three years later

the couple's second son, Gonzalo, was born in Mexico.[44] Gonzalo is currently a

graphic designer in Mexico City.[43]

Leaf Storm

Main article: Leaf Storm

Leaf Storm (La Hojarasca) is García Márquez's first novella and took seven years

to find a publisher, finally being published in 1955.[45] García Márquez notes that"of all that he had written (as of 1973), Leaf Storm was his favorite because he

felt that it was the most sincere and spontaneous."[46] All the events of the novellatake place in one room, during a half-hour period on Wednesday 12 September1928. It is the story of an old colonel (similar to García Márquez's owngrandfather) who tries to give a proper Christian burial to an unpopular Frenchdoctor. The colonel is supported only by his daughter and grandson. The novellaexplores the child's first experience with death by following his stream ofconsciousness. The book also reveals the perspective of Isabel, the Colonel's

daughter, which provides a feminine point of view.[32]

One Hundred Years of Solitude


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Main article: One Hundred Years of Solitude

Since García Márquez was eighteen, he had wanted to write a novel based on hisgrandparents' house where he grew up. However, he struggled with finding anappropriate tone and put off the idea until one day the answer hit him whiledriving his family to Acapulco. He turned the car around and the family returnedhome so he could begin writing. He sold his car so his family would have money tolive on while he wrote, but writing the novel took far longer than he expected, andhe wrote every day for eighteen months. His wife had to ask for food on creditfrom their butcher and their baker as well as nine months of rent on credit from

their landlord.[47] Fortunately, when the book was finally published in 1967 itbecame his most commercially successful novel, One Hundred Years of Solitude,

which sold more than 30 million copies.[48] (Cien años de soledad) (1967; Englishtranslation by Gregory Rabassa 1970). The story chronicles several generations ofthe Buendía family from the time they founded the fictional South Americanvillage of Macondo, through their trials and tribulations, instances of incest,births and deaths. The history of Macondo is often generalized by critics torepresent rural towns throughout Latin America or at least near García Márquez's

native Aracataca.[49][50]

This novel was widely popular and led to García Márquez's Nobel Prize as well asthe Rómulo Gallegos Prize in 1972. William Kennedy has called it "the first pieceof literature since the Book of Genesis that should be required reading for the

entire human race,"[51] and hundreds of articles and books of literary critiquehave been published in response to it. Despite the many accolades the bookreceived, García Márquez tended to downplay its success. He once remarked:"Most critics don't realize that a novel like One Hundred Years of Solitude is a bitof a joke, full of signals to close friends; and so, with some pre-ordained right topontificate they take on the responsibility of decoding the book and risk making

terrible fools of themselves."[50]

Fame

After writing One Hundred Years of Solitude García Márquez returned to Europe,

this time bringing along his family, to live in Barcelona, Spain, for seven years.[44]

The international recognition García Márquez earned with the publication of thenovel led to his ability to act as a facilitator in several negotiations between theColombian government and the guerrillas, including the former 19th of April

Movement (M-19), and the current FARC and ELN organizations.[52][53] Thepopularity of his writing also led to friendships with powerful leaders, includingone with former Cuban president Fidel Castro, which has been analyzed in Gabo

and Fidel: Portrait of a Friendship.[54] It was during this time that he waspunched in the face by Mario Vargas Llosa in what became one of the largest


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García Márquezsigning a copy ofOne HundredYears of Solitudein Havana, Cuba

feuds in modern literature. In an interview with ClaudiaDreifus in 1982 García Márquez notes his relationship withCastro is mostly based on literature: “Ours is an intellectualfriendship. It may not be widely known that Fidel is a verycultured man. When we’re together, we talk a great deal

about literature.”[55] This relationship was criticized byCuban exile writer Reinaldo Arenas, in his 1992 memoir

Antes de que Anochezca (Before Night Falls).[56]

Due to his newfound fame and his outspoken views on U.S.imperialism Garcia Márquez was labeled as a subversive andfor many years was denied visas by U.S. immigration

authorities.[57] After Bill Clinton was elected U.S. president,he lifted the travel ban and cited One Hundred Years of

Solitude as his favorite novel.[58]

Autumn of the Patriarch

Main article: Autumn of the Patriarch

García Márquez was inspired to write a dictator novel when he witnessed theflight of Venezuelan dictator Marcos Pérez Jiménez. He shares, "it was the first

time we had seen a dictator fall in Latin America."[59] García Márquez beganwriting Autumn of the Patriarch (El otoño del patriarca) in 1968 and said it wasfinished in 1971; however, he continued to embellish the dictator novel until 1975

when it was published in Spain.[60] According to García Márquez, the novel is a"poem on the solitude of power" as it follows the life of an eternal dictator knownas the General. The novel is developed through a series of anecdotes related to

the life of the General, which do not appear in chronological order.[61] Althoughthe exact location of the story is not pin-pointed in the novel, the imaginary

country is situated somewhere in the Caribbean.[62]

García Márquez gave his own explanation of the plot:

My intention was always to make a synthesis of all the Latin Americandictators, but especially those from the Caribbean. Nevertheless, thepersonality of Juan Vicente Gomez [of Venezuela] was so strong, inaddition to the fact that he exercised a special fascination over me, that

undoubtedly the Patriarch has much more of him than anyone else.[62]

After Autumn of the Patriarch was published García Márquez and his family

moved from Barcelona to Mexico City[44] and García Márquez pledged not topublish again until the Chilean Dictator Augusto Pinochet was deposed. However,


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he ultimately published Chronicle of a Death Foretold while Pinochet was still in

power as he "could not remain silent in the face of injustice and repression."[63]

Chronicle of a Death Foretold

Main article: Chronicle of a Death Foretold

Chronicle of a Death Foretold (Crónica de una muerte anunciada) recreates amurder that took place in Sucre, Colombia in 1951. The character namedSantiago Nasar is based on a good friend from García Márquez's childhood,

Cayetano Gentile Chimento.[64] Pelayo classifies this novel as a combination of

journalism, realism and detective story.[65]

The plot of the novel revolves around Santiago Nasar's murder. The narrator acts

as a detective, uncovering the events of the murder second by second.[66] Literarycritic Ruben Pelayo notes that the story "unfolds in an inverted fashion. Instead of

moving forward... the plot moves backwards."[67] In the first chapter, the narratortells the reader exactly who killed Santiago Nasar and the rest of the book is leftto unfold why.

Chronicle of a Death Foretold was published in 1981, the year before García

Márquez was awarded the 1982 Nobel Prize in Literature.[64] The novel was also

adapted into a film by Italian director Francesco Rosi in 1987.[66]

Love in the Time of Cholera

Main article: Love in the Time of Cholera

Love in the Time of Cholera (El amor en los tiempos del cólera) was firstpublished in 1985. It is considered a non-traditional love story as "lovers find love

in their 'golden years'—in their seventies, when death is all around them".[68]

Love in the Time of Cholera is based on the stories of two couples. The young loveof Fermina Daza and Florentino Ariza is based on the love affair of García

Márquez's parents.[69] However, as García Márquez explains in an interview: “Theonly difference is [my parents] married. And as soon as they were married, they

were no longer interesting as literary figures."[69] The love of old people is basedon a newspaper story about the death of two Americans, who were almost 80years old, who met every year in Acapulco. They were out in a boat one day andwere murdered by the boatman with his oars. García Márquez notes, "Throughtheir death, the story of their secret romance became known. I was fascinated by

them. They were each married to other people."[70]


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News of a Kidnapping

Main article: News of a Kidnapping

News of a Kidnapping (Noticia de un secuestro) was first published in 1996. It is anon-fiction book that examines a series of related kidnappings and Narco-terroristactions committed in the early 1990s in Colombia by the Medellín Cartel, a drugcartel founded and operated by Pablo Escobar. The text recounts the kidnapping,imprisonment, and eventual release of prominent figures in Colombia, includingpoliticians and members of the press. The original idea of the book was proposedto García Márquez by the former minister for education Maruja Pachón Castroand Colombian diplomat Luis Alberto Villamizar Cárdenas, both of whom wereamong the many victims of a Pablo Escobar's attempt to pressure the governmentto stop his extradition by committing a series of kidnappings, murders and

terrorist actions.[71]

Living to Tell the Tale and Memories of My Melancholy Whores

In 2002, García Márquez published the memoir Vivir para contarla, the first of aprojected three-volume autobiography. Edith Grossman's English translation,

Living to Tell the Tale, was published in November 2003.[72] October 2004brought the publication of a novel, Memories of My Melancholy Whores (Memoriade mis putas tristes), a love story that follows the romance of a 90-year-old manand a pubescent concubine. Memories of My Melancholy Whores causedcontroversy in Iran, where it was banned after an initial 5,000 copies were

printed and sold.[73][74]

Film and opera

Critics often describe the language that García Márquez's imagination produces

as visual or graphic,[75] and he himself explains each of his stories is inspired by

"a visual image,"[76] so it comes as no surprise that he had a long and involvedhistory with film. He was a film critic, he founded and served as executive

director of the Film Institute in Havana,[75] was the head of the Latin American

Film Foundation, and wrote several screenplays.[33] For his first script he worked

with Carlos Fuentes on Juan Rulfo's El gallo de oro.[75] His other screenplaysinclude the films Tiempo de morir (1966) and Un señor muy viejo con unas alas

enormes (1988), as well as the television series Amores difíciles (1991).[75][77]

García Márquez also originally wrote his Eréndira as a third screenplay. However,this version was lost and replaced by the novella. Nonetheless, he worked onrewriting the script in collaboration with Ruy Guerra and the film was released in


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García Márquez with theColombian Culture MinisterPaula Moreno (left) at theGuadalajara InternationalFilm Festival, in Guadalajara,Mexico, in March 2009

Mexico in 1983.[78]

Several of his stories have inspired other writersand directors. In 1987, the Italian directorFrancesco Rosi directed the movie Cronaca di unamorte annunciata based on Chronicle of a Death

Foretold.[79] Several film adaptations have beenmade in Mexico, including Miguel Littin's La Viudade Montiel (1979), Jaime Humberto Hermosillo's

Maria de mi corazón (1979),[80] and ArturoRipstein's El coronel no tiene quien le escriba

(1998).[81]

British director Mike Newell (Four Weddings and aFuneral) filmed Love in the Time of Cholera inCartagena, Colombia, with the screenplay written by Ronald Harwood (The

Pianist). The film was released in the U.S. on 16 November 2007.[82]

His novel Of Love and Other Demons was adapted and directed by a Costa Ricanfilmmaker, Hilda Hidalgo, who is a graduate of the Film Institute at Havana whereGarcía Márquez frequently imparts screenplay workshops. Hidalgo's film wasreleased in April 2010. The same novel was adapted by Hungarian composerPéter Eötvös to form the opera Love and Other Demons, premiered in 2008 atGlyndebourne Festival.

Declining health and death

In 1999, García Márquez was diagnosed with lymphatic cancer.[58] Chemotherapyprovided by a hospital in Los Angeles proved to be successful, and the illness

went into remission.[58][83] This event prompted García Márquez to begin writinghis memoirs: "I reduced relations with my friends to a minimum, disconnected thetelephone, canceled the trips and all sorts of current and future plans", he told ElTiempo, the Colombian newspaper, "...and locked myself in to write every day

without interruption."[83] In 2002, three years later, he published Living to Tellthe Tale (Vivir para Contarla), the first volume in a projected trilogy of

memoirs.[83]

In 2000, his impending death was incorrectly reported by Peruvian dailynewspaper La República. The next day other newspapers republished his allegedfarewell poem, "La Marioneta," but shortly afterwards García Márquez deniedbeing the author of the poem, which was determined to be the work of a Mexican

ventriloquist.[84][85][86]


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He stated that 2005 "was the first [year] in my life in which I haven't written evena line. With my experience, I could write a new novel without any problems, but

people would realise my heart wasn't in it."[87]

In May 2008, it was announced that García Márquez was finishing a new "novel of

love" that had yet to be given a title, to be published by the end of the year.[88]

However, in April 2009 his agent, Carmen Balcells, told the Chilean newspaper La

Tercera that García Márquez was unlikely to write again.[87] This was disputed byRandom House Mondadori editor Cristobal Pera, who stated that García Márquezwas completing a new novel called We'll Meet in August (En agosto nos

vemos).[89]

In December 2008, García Márquez told fans at the Guadalajara book fair that

writing had worn him out.[87] In 2009, responding to claims by both his literaryagent and his biographer that his writing career was over, he told Colombiannewspaper El Tiempo: "Not only is it not true, but the only thing I do is write".[87][90]

In 2012, his brother Jaime announced that García Márquez was suffering from

dementia.[91]

In April 2014, García Márquez was hospitalized in Mexico. He had infections inhis lungs and his urinary tract, and was suffering from dehydration. He wasresponding well to antibiotics. Mexican president Enrique Pena Nieto wrote onTwitter, "I wish him a speedy recovery". Colombian president Juan Manuel Santossaid his country was thinking of the author and said in a tweet "All of Colombia

wishes a speedy recovery to the greatest of all time: Gabriel García Márquez".[92]

García Márquez died of pneumonia at the age of 87 on 17 April 2014 in Mexico

City.[93][94] His death was confirmed by his relative Fernanda Familiar on

Twitter,[95] and by his former editor Cristóbal Pera.[96] The Colombian presidentJuan Manuel Santos mentioned: "One Hundred Years of Solitude and sadness for

the death of the greatest Colombian of all time".[95] The former Colombianpresident Álvaro Uribe Vélez said: "Master García Márquez, thanks forever,millions of people in the planet fell in love with our nation fascinated with your

lines".[97] At the time of his death, he had a wife and two sons.[96]

Style

While there are certain aspects readers can almost always expect in GarcíaMárquez's writing, like instances of humour, he did not stick to any clear andpredetermined style template. In an interview with Marlise Simons, García


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"Gabo" wearing a"sombrero vueltiao"hat, typical of theColombian Caribbeanregion. Most of thestories by GarcíaMárquez revolvearound theidiosyncrasy of thisregion.

Márquez noted:

In every book I try to make a different path [...]. Onedoesn't choose the style. You can investigate and tryto discover what the best style would be for atheme. But the style is determined by the subject,by the mood of the times. If you try to usesomething that is not suitable, it just won't work.Then the critics build theories around that and theysee things I hadn't seen. I only respond to our way

of life, the life of the Caribbean.[98]

García Márquez was also noted for leaving out seeminglyimportant details and events so the reader is forced intoa more participatory role in the story development. Forexample, in No One Writes to the Colonel, the maincharacters are not given names. This practice isinfluenced by Greek tragedies, such as Antigone andOedipus Rex, in which important events occur off-stage

and are left to the audience's imagination.[99]

Realism and magical realism

Reality is an important theme in all of García Márquez'sworks. He said of his early works (with the exception ofLeaf Storm), "Nobody Writes to the Colonel, In Evil Hour,and Big Mama's Funeral all reflect the reality of life inColombia and this theme determines the rational structure of the books. I don'tregret having written them, but they belong to a kind of premeditated literature

that offers too static and exclusive a vision of reality."[100]

In his other works he experimented more with less traditional approaches toreality, so that "the most frightful, the most unusual things are told with the

deadpan expression".[101] A commonly cited example is the physical and spiritualascending into heaven of a character while she is hanging the laundry out to dryin One Hundred Years of Solitude. The style of these works fits in the "marvellousrealm" described by the Cuban writer Alejo Carpentier and was labeled as

magical realism.[102] Literary critic Michael Bell proposes an alternativeunderstanding for García Márquez's style, as the category magic realism iscriticized for being dichotimizing and exoticizing, "what is really at stake is apsychological suppleness which is able to inhabit unsentimentally the daytimeworld while remaining open to the promptings of those domains which modern

culture has, by its own inner logic, necessarily marginalised or repressed."[103]

García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a


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similar way,

"The way you treat reality in your books ... has been called magicalrealism. I have the feeling your European readers are usually aware ofthe magic of your stories but fail to see the reality behind it ... ." "This issurely because their rationalism prevents them seeing that reality isn't

limited to the price of tomatoes and eggs."[104]

Motifs

Solitude

The theme of solitude runs through much of García Márquez's works. As Pelayonotes, "Love in the Time of Cholera, like all of Gabriel García Márquez's work,explores the solitude of the individual and of humankind...portrayed through the

solitude of love and of being in love".[105]

In response to Plinio Apuleyo Mendoza's question, "If solitude is the theme of allyour books, where should we look for the roots of this over-riding emotion? Inyour childhood perhaps?" García Márquez replied, "I think it's a problemeverybody has. Everyone has his own way and means of expressing it. The feelingpervades the work of so many writers, although some of them may express it

unconsciously."[106]

In his Nobel Prize acceptance speech, "Solitude of Latin America"(http://www.nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture.html), he relates this theme of solitude to the Latin American experience,"The interpretation of our reality through patterns not our own, serves only to

make us ever more unknown, ever less free, ever more solitary."[107]

Macondo

Another important theme in many of García Márquez's work is the setting of thevillage he calls Macondo. He uses his home town of Aracataca, Colombia as acultural, historical and geographical reference to create this imaginary town, butthe representation of the village is not limited to this specific area. GarcíaMárquez shares, "Macondo is not so much a place as a state of mind, which

allows you to see what you want, and how you want to see it."[108] Even when hisstories do not take place in Macondo, there is often still a consistent lack ofspecificity to the location. So while they are often set with "a Caribbean coastlineand an Andean hinterland... [the settings are] otherwise unspecified, inaccordance with García Márquez's evident attempt to capture a more general

regional myth rather than give a specific political analysis."[109] "This fictional


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town has become well known in the literary world. As Stavans notes of Macondo,"its geography and inhabitants constantly invoked by teachers, politicians, and

tourdepictsist agents..." makes it "...hard to believe it is a sheer fabrication."[110]

In Leaf Storm García Márquez depicts the realities of the Banana Boom inMacondo, which include a period of great wealth during the presence of the UScompanies and a period of depression upon the departure of the American banana

companies.[111] As well, Hundred Years of Solitude takes place in Macondo and

tells the complete history of the fictional town from its founding to its doom.[112]

In his autobiography, García Márquez explains his fascination with the word andconcept Macondo. He describes a trip he made with his mother back to Aracatacaas a young man:

The train stopped at a station that had no town, and a short while laterit passed the only banana plantation along the route that had its namewritten over the gate: Macondo. This word had attracted my attentionever since the first trips I had made with my grandfather, but Idiscovered only as an adult that I liked its poetic resonance. I neverheard anyone say it and did not even ask myself what it meant...Ihappened to read in an encyclopedia that it is a tropical tree resembling

the Ceiba.[113]

La violencia

In several of García Márquez's works, including No One Writes to the Colonel, InEvil Hour, and Leaf Storm, he referenced La Violencia (the violence), "a brutalcivil war between conservatives and liberals that lasted into the 1960s, causing

the deaths of several hundred thousand Colombians."[34][114] Throughout all ofhis novels there are subtle references to la violencia. For example, characters liveunder various unjust situations like curfew, press censorship, and underground

newspapers.[115] In Evil Hour, while not one of García Márquez's most famousnovels, is notable for its portrayal of la violencia with its "fragmented portrayal of

social disintegration provoked by la violencia".[116] Although García Márquez didportray the corrupt nature and the injustices of times like la violencia, he refusedto use his work as a platform for political propaganda. "For him, the duty of therevolutionary writer is to write well, and the ideal novel is one that moves itsreader by its political and social content, and, at the same time, by its power to

penetrate reality and expose its other side.[115]

Legacy


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“Whether in fiction or nonfiction, in the epic novel or theconcentrated story, Márquez is now recognized in the words ofCarlos Fuentes as "the most popular and perhaps the best writer inSpanish since Cervantes". He is one of those very rare artists whosucceed in chronicling not only a nation's life, culture and history,but also those of an entire continent, and a master storyteller who,as The New York Review of Books once said, "forces upon us at every

page the wonder and extravagance of life."[117] ”García Márquez's work is an important part of the Latin American Boom of

literature.[118] His work has challenged critics of Colombian literature to step outof the conservative criticism that had been dominant before the success of OneHundred Years of Solitude. In a review of literary criticism Robert Sims notes,

García Márquez continues to cast a lengthy shadow in Colombia, LatinAmerica, and the United States. Critical works on the 1982 Nobellaureate have reached industrial proportion and show no signs ofabating. Moreover, García Márquez has galvanized Colombian literaturein an unprecedented way by giving a tremendous impetus to Colombianliterature. Indeed, he has become a touchstone for literature andcriticism throughout the Americas as his work has created a certainattraction-repulsion among critics and writers while readers continue todevour new publications. No one can deny that García Márquez hashelped rejuvenate, reformulate, and recontextualize literature and

criticism in Colombia and the rest of Latin America.[119]

Nobel Prize

Main article: The Solitude of Latin America

García Márquez received the Nobel Prize in Literature on 8 December 1982 "forhis novels and short stories, in which the fantastic and the realistic are combinedin a richly composed world of imagination, reflecting a continent's life andconflicts". His acceptance speech was entitled "The Solitude of Latin

America".[120] García Márquez was the first Colombian and fourth Latin American

to win a Nobel Prize for Literature.[121] After becoming a Nobel laureate, GarcíaMárquez stated to a correspondent: "I have the impression that in giving me theprize, they have taken into account the literature of the sub-continent and have

awarded me as a way of awarding all of this literature."[63]

List of works


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Novels

In Evil Hour (1962)One Hundred Years of Solitude (1967)The Autumn of the Patriarch (1975)Love in the Time of Cholera (1985)The General in His Labyrinth (1989)Of Love and Other Demons (1994)

Novellas

Leaf Storm (1955)No One Writes to the Colonel (1961)Chronicle of a Death Foretold (1981)Memories of My Melancholy Whores (2004)

Short story collections

Eyes of a Blue Dog (1947)Big Mama's Funeral (1962)The Incredible and Sad Tale of Innocent Erendira and Her HeartlessGrandmother (1978)Collected Stories (1984)Strange Pilgrims (1993)

Non-fiction

The Story of a Shipwrecked Sailor (1970)The Solitude of Latin America (1982)The Fragrance of Guava (1982, with Plinio Apuleyo Mendoza)Clandestine in Chile (1986)News of a Kidnapping (1996)A Country for Children (1998)Living to Tell the Tale (2002)

See also

McOndoThe Handsomest Drowned Man in the WorldVallenato

References


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^ "The Nobel Prize in Literature 1982"(http://www.nobelprize.org/nobel_prizes/literature/laureates/1982/). Retrieved 18 April 2014.

1.

^ Author Gabriel Garcia Marquez dies(http://www.bbc.co.uk/news/world-latin-america-27073911), BBC News,17 April 2014.

2.

^ "On Sunday 6 March 1927, at 9am,in the midst of an unseasonalrainstorm, a baby boy, Gabriel JoséGarcía Márquez, was born." he died on17 April 2014. (Martin 2008, p. 27)

3.

^ Martin 2008, p. 274.^ Martin 2008, p. 305.^ García Márquez 2003, p. 116.^ Martin 2008, pp. 58–667.

^ a b Saldívar 1997, p. 828.

^ a b García Márquez 2003, p. 459.^ Apuleyo Mendoza & García Márquez1983, pp. 11–12

10.

^ Saldívar 1997, p. 8511.^ Saldívar 1997, p. 8312.^ Saldívar 1997, p. 8713.

^ a b c Saldívar 1997, p. 10214.^ Apuleyo Mendoza & García Márquez1983, p. 96

15.

^ Saldívar 1997, p. 3516.^ Saldívar 1997, p. 10317.^ Saldívar 1997, p. 10518.

^ a b Simons 198219.^ Saldívar 1997, p. 10620.^ Saldívar 1997, p. 10421.

^ a b Saldívar 1997, p. 10722.^ Apuleyo Mendoza & García Márquez1983, p. 13

23.

^ Apuleyo Mendoza & García Márquez1982, p. 96

24.

^ Saldívar 1997, p. 9825.^ Bell-Villada 1990, p. 6326.^ Apuleyo Mendoza & García Márquez1983, p. 12

27.

^ Saldívar 1997, p. 9628.^ Saldívar 1997, pp. 97–9829.^ Bell 1993, p. 630.^ Bell-Villada 2006, p. 8431.

^ a b c Pelayo 2001, p. 532.

^ a b c Bell 1993, p. 733.

^ a b c McMurray 1987, p. 634.^ McMurray 1987, p. 735.^ Pelayo 2001, p. 636.^ (Spanish) Lleras Camargo, Alberto(http://www.lablaa.org/blaavirtual/biografias/lleralbe.htm), BibliotecaLuis Ángel Arango, retrieved 2December 2008

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^ Bell-Villada 1990, p. 6238.^ "La última emisión de QAP." ElTiempo 30 December 1997:link(http://www.eltiempo.com/archivo/documento/MAM-711688)

39.

^ Saldívar 1997, p. 37240.

^ a b Pelayo 2001, p. 741.^ Bell-Villada 2006, pp. xx–xxi42.

^ a b Pelayo 2001, p. 843.

^ a b c Bell-Villada 2006, p. xxi44.^ "Of love and other demons"(http://us.penguingroup.com/static/rguides/us/of_love_and_other_demons.html).Penguin Group.

45.

^ Pelayo 2001, p. 2846.^ Apuleyo Mendoza & García Márquez1983, pp. 74–75

47.

^ http://www.bbc.com/news/world-latin-america-27076562

48.

^ Pelayo & García Márquez 2001,p. 97

49.

^ a b Apuleyo Mendoza & GarcíaMárquez 1983, p. 72

50.

^ García Márquez, One Hundred Yearsof Solitude(http://www.harpercollins.com/books/9780060883287/One_Hundred_Years_of_Solitude/index.aspx), HarperCollins,ISBN 0-87352-535-3

51.


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^ (Spanish) Vargas, Alejo, GabrielGarcía Márquez y la paz colombiana.(http://www.elcolombiano.com.co/BancoConocimiento/G/gabriel_garcia_marquez_y_la_paz_colombiana/gabriel_garcia_marquez_y_la_paz_colombiana.asp?CodSeccion=46),ElColombiano.com, retrieved 5February 2008

52.

^ (Spanish) García Márquez mediapor la paz (http://news.bbc.co.uk/hi/spanish/latin_america/newsid_6444000/6444281.stm), BBCMundo, 13 March 2007, retrieved 5February 2008

53.

^ Esteban & Panichelli 200454.^ Bell-Villada 2006, p. 10055.^ Arenas 1993, p. 27856.^ Bell-Villada 1990, p. 6757.

^ a b c Bell-Villada 2006, p. xxii58.^ Apuleyo Mendoza 19842, p. 8159.^ Kennedy 197660.^ Williams 1984, p. 11261.

^ a b Williams 1984, p. 11162.

^ a b Maurya 1983, p. 5863.

^ a b Pelayo 2001, p. 11164.^ Pelayo 2001, p. 11565.

^ a b Pelayo 2001, p. 11266.^ Pelayo 2001, p. 11367.^ Pelayo 2001, p. 1168.

^ a b Bell-Villada 2006, p. 15669.^ Bell-Villada 2006, p. 15770.^ Maruja Pachón ex ministra deEducación, Enfoque - Edición ImpresaSemana.com - Últimas Noticias(http://www.semana.com/enfoque/articulo/maruja-pachon-ex-ministra-educacion/103434-3) (Spanish)

71.

^ García Márquez 200372.

^ Sarkouhi, Faraj (26 November2007). "Iran: Book Censorship TheRule, Not The Exception"(http://www.payvand.com/news/07/nov/1244.html). Payvands' Iran News.Retrieved 29 March 2008.

73.

^ Ron, Jesus (4 December 2007)."Mayhem in Paris, author banned fromIran, Chavez at odds w/ Colombia &Spain"(http://media.www.rutgersobserver.com/media/storage/paper822/news/2007/12/04/News/Mayhem.In.Paris.Author.Banned.From.Iran.Chavez.At.Odds.W.Colombia.Spain-3129071.shtml). RutgersObserver. Retrieved 29 March 2008.

74.

^ a b c d Stavans 1993, p. 6575.^ Apuleyo Mendoza & García Márquez1983, p. 26

76.

^ Gonzalez 1994, p. 4377.^ Aufderheide, Patricia, Cross-culturalfilm guide(http://www.library.american.edu/subject/media/aufderheide/erendira.html), American UniversityLibrary

78.

^ Gonzales 1994, p. 3379.^ Mraz 199480.^ de la Mora & Ripstein 1999, p. 581.^ Douglas 200782.

^ a b c Forero 200283.^ García Márquez: "Lo que me puedematar es que alguien crea que escribíuna cosa tan cursi." (http://elpais.com/diario/2000/06/01/cultura/959810408_850215.html), El País,retrieved 10 July 2012

84.

^ García Márquez: "Lo que me mata esque crean que escribo así"(http://www.elsalvador.com/noticias/EDICIONESANTERIORES/2000/JUNIO/junio2/ESCENARIOS/escen3.html), Elsalvador.com,retrieved 26 March 2008

85.


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^ (Spanish) García Márquez FarewellLetter(http://www.museumofhoaxes.com/marquez.html), Museum of Hoaxes,retrieved 26 March 2008

86.

^ a b c d Hamilos, Paul (2 April 2009)."Gabriel García Márquez, literarygiant, lays down his pen"(http://www.guardian.co.uk/books/2009/apr/02/columbia-gabriel-garcia-marquez-books). The Guardian.Retrieved 2 April 2009.

87.

^ Keeley, Graham (8 May 2008)."Magic triumphs over realism forGarcía Márquez"(http://books.guardian.co.uk/news/articles/0,,2278421,00.html).The Guardian. Retrieved 11 May 2008.

88.

^ Yin, Maryann (29 October 2010),Gabriel García Márquez Writing NewNovel (http://www.mediabistro.com/galleycat/gabriel-garcia-marquez-writing-new-novel_b15480), Galleycat

89.

^ Flood, Alison (6 April 2009). "GabrielGarcía Márquez: I'm still writing"(http://www.guardian.co.uk/books/2009/apr/06/gabriel-garcia-marquez-still-writing?INTCMP=ILCNETTXT3487).The Guardian. Retrieved 6 April 2009.

90.

^ Alexander, Harriet (7 June 2012)."Gabriel Garcia Marquez sufferingfrom dementia"(http://www.telegraph.co.uk/culture/culturenews/9383928/Gabriel-Garcia-Marquez-suffering-from-dementia.html). The Telegraph.

91.

^ "Literary giant Gabriel GarcíaMárquez hospitalized"(http://edition.cnn.com/2014/04/03/showbiz/gabriel-garcia-marquez-hospitalized/index.html).Edition.cnn.com. Retrieved2014-04-18.

92.

^ Torres, Paloma (17 April 2014)."Gabriel García Márquez Dies: FamedColombian Author And Nobel LaureateDead At 87 From Pneumonia"(http://www.latintimes.com/gabriel-garcia-marquez-dies-famed-colombian-author-and-nobel-laureate-dead-87-pneumonia-166280). Latin Times.Retrieved 17 April 2014.

93.

^ Castillo, E. Eduardo; Bajak, Frank(17 April 2014). "Garcia Marquez,Nobel Laureate, Dies at 87"(http://hosted.ap.org/dynamic/stories/L/LT_OBIT_GARCIA_MARQUEZ?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2014-04-17-17-38-00).Associated Press. Retrieved 17 April2014.

94.

^ a b "Author Gabriel Garcia Marquezdies" (http://www.bbc.com/news/world-latin-america-27073911). BBC. 17April 2014. Retrieved 17 April 2014.

95.

^ a b Kandell, Jonathan (17 April2014). "Gabriel García Márquez,Literary Pioneer, Dies at 87"(http://www.nytimes.com/2014/04/18/books/gabriel-garcia-marquez-literary-pioneer-dies-at-87.html?_r=0).The New York Times. Retrieved 17April 2014.

96.

^ "El adiós a Gabriel García Márquezen Twitter" [The goodbye to GarcíaMárquez on Twitter](http://www.lanacion.com.ar/1683084-el-adios-a-gabriel-garcia-marquez-en-twitter) (in Spanish). La Nación. 17April 2014. Retrieved 17 April 2014.

97.

^ Simons, Marlise (21 February 1988)."Gabriel Márquez on Love, Plaguesand Politics" (http://query.nytimes.com/gst/fullpage.html?res=940DEFD61E30F932A15751C0A96E948260). TheNew York Times. Retrieved 30 July2008.

98.

^ Bell-Villada 1990, p. 7599.


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^ Apuleyo Mendoza & García Márquez1983, p. 56

100.

^ McMurray 1987, p. 18101.^ Maurya 1983, p. 57102.^ Bell 1993, p. 49103.^ Apuleyo Mendoza & García Márquez1983, p. 35

104.

^ Pelayo 2001, p. 136105.^ Apuleyo Mendoza & García Márquez1983, p. 54

106.

^ García Márquez 1982107.^ Apuleyo Mendoza 1982, p. 77108.^ Bell 1993, p. 70109.^ Stavans 1993, p. 58110.^ McMurray 1987, p. 15111.^ McMurray 1987, p. 17112.

^ García Márquez 2003, p. 19113.^ Pelayo 2001, p. 43114.

^ a b McMurray 1987, p. 16115.^ McMurray 1987, p. 25116.^ One Hundred years of Solitude, byGabriel Garcia Marquez, 2003, HarperCollins: New York, ISBN0-06-088328-6, post-script sectionentitled: 'P.S. Insights, Interviews &More' pgs 2–12

117.

^ Bacon 2001, p. 833118.^ Sims 1994, p. 224119.^ García Márquez 1982, see Pelayo2001, p. 11

120.

^ Maurya 1983, p. 53121.

Bibliography

Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava,London: Verso, ISBN 0-86091-765-7.Arenas, Reinaldo (1993), Before Night Falls, New York: Viking,ISBN 978-0-670-84078-6.Bacon, Susan (December 2001), "Review of Conversations with Latin AmericanWriters: Gabriel Garcia Marquez", Hispania (American Association of Teachers ofSpanish and Portuguese) 84 (4): 833, doi:10.2307/3657872 (http://dx.doi.org/10.2307%2F3657872), JSTOR 3657872 (//www.jstor.org/stable/3657872).Bell, Michael (1993), Gabriel García Márquez: Solitude and Solidarity, Hampshire:Macmillan, ISBN 0-333-53765-3.Bell-Villada, Gene H. (1990), García Márquez: The Man and His Work, North Carolina:University of North Carolina Press, ISBN 0-8078-1875-5.Bell-Villada, Gene H., ed. (2006), Conversations with Gabriel García Márquez,Jackson: University Press of Mississippi, ISBN 1-57806-784-7.Bhalla, Alok, ed. (1987), García Márquez and Latin America, New Delhi: SterlingPublishers Private Limited.Bloom, Harold, ed. (2007), Gabriel García Márquez, New York: Chelsea House,ISBN 0-7910-9312-3.Cebrian, Juan Luis (1997), Retrato de Gabriel García Márquez, Gutenberg: Círculo deLectores, ISBN 84-226-5572-1.Douglas, Edward, Mike Newell on Love in the Time of Cholera(http://www.comingsoon.net/news/movienews.php?id=39181), retrieved 25 March2008.Esteban, Angel; Panichelli, Stephanie (2004), Gabo Y Fidel: el paisaje de una amistad,Planeta Publishing.


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Forero, Juan (9 October 2002), "A Storyteller Tells His Own Story; García Márquez,Fighting Cancer, Issues Memoirs" (http://query.nytimes.com/gst/fullpage.html?res=9507EEDC113BF93AA35753C1A9649C8B63), The New YorkTimes, retrieved 21 March 2008.García Márquez, Gabriel (1982), "Nobel lecture" (http://www.nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture.html), in Frängsmyr, Tore,Nobel Lectures, Literature 1981–1990, Singapore: World Scientific Publishing Co.(published 1993).García Márquez, Gabriel (1968), No One Writes to the Colonel (1st ed.), Harper &Row, ISBN 0-06-011417-7.García Márquez, Gabriel (2003), Living to tell the tale, New York: Alfred A. Knopf,ISBN 1-4000-4134-1.Gonzales, Nelly (1994), Bibliographic Guide to Gabriel García Márquez, 1986–1992,Oxford: Greenwood Publishing Group, ISBN 0-313-28832-1.Hernández, Consuelo. "El Amor en los tiempos del cólera es una novela popular."Diario la Prensa: New York, 4 October. 1987.Jehensen, Yvonne; McNerney, Kathleen (May 1990), "Understanding Gabriel GarcíaMárquez", Hispania (American Association of Teachers of Spanish and Portuguese)73 (2): 433–434, doi:10.2307/342842 (http://dx.doi.org/10.2307%2F342842),ISSN 0018-2133 (//www.worldcat.org/issn/0018-2133), JSTOR 342842(//www.jstor.org/stable/342842).Kennedy, William (31 October 1976), "A Stunning Portrait of a Monstrous CaribbeanTyrant" (http://www.nytimes.com/books/97/06/15/reviews/marque-autumn.html), TheNew York Times, retrieved 24 March 2008.Martin, Gerald (2008), Gabriel García Márquez: A Life, London: Penguin,ISBN 978-0143171829.Maurya, Vibha (January 1983), "Gabriel García Márquez", Social Scientist (SocialScientist) 11 (1): 53–58, doi:10.2307/3516870 (http://dx.doi.org/10.2307%2F3516870), ISSN 0970-0293 (//www.worldcat.org/issn/0970-0293),JSTOR 3516870 (//www.jstor.org/stable/3516870).McMurray, George R. (1987), Critical Essays on Gabriel García Márquez, Boston: G.K.Hall & Co., ISBN 0-8161-8834-3.de la Mora, Sergio; Ripstein, Arturo (Summer 1999), "A Career in Perspective: AnInterview with Arturo Ripstein", Film Quarterly (University of California Press) 52(4): 2–11, doi:10.1525/fq.1999.52.4.04a00020 (http://dx.doi.org/10.1525%2Ffq.1999.52.4.04a00020), ISSN 0015-1386 (//www.worldcat.org/issn/0015-1386), JSTOR 1213770 (//www.jstor.org/stable/1213770).Mraz, John (August 1994), "Review of Cinema of Solitude: A Critical Study of MexicanFilm, 1972–1983, by Charles Ramirez Berg" (http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=9411104759&site=ehost-live), HistoricalJournal of Film, Radio and Television 14 (3), ISSN 0143-9685 (//www.worldcat.org/issn/0143-9685), retrieved 27 March 2008.Oberhelman, Harley D. (1995), García Márquez and Cuba: A Study of its Presence inhis Fiction, Journalism, and Cinema, Fredericton: York Press Ltd.,ISBN 0-919966-95-0.Pelayo, Ruben (2001), Gabriel García Márquez: A Critical Companion, Westport:Greenwood Press, ISBN 0-313-31260-5.


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Saldívar, Dasso (1997), García Márquez: El viaje a la semilla: la biografía, Madrid:Alfaguara, ISBN 84-204-8250-1.Simons, Marlise (5 December 1982), "A Talk With Gabriel García Márquez"(http://www.nytimes.com/books/97/06/15/reviews/marquez-talk.html), The New YorkTimes, retrieved 24 March 2008.Sims, Robert (1994), "Review: Dominant, Residual, and Emergent: Revent Criticismon Colombian Literature and gabriel Garcia Marquez", Latin American ResearchReview (Latin American Studies Association) 29 (2): 223–234, JSTOR 2503601(//www.jstor.org/stable/2503601).Stavans, Ilan (1993), "Gabo in Decline", Transition (Indiana University Press) 62 (62):58–78, doi:10.2307/2935203 (http://dx.doi.org/10.2307%2F2935203),ISSN 0041-1191 (//www.worldcat.org/issn/0041-1191), JSTOR 2935203(//www.jstor.org/stable/2935203).Williams, Raymond L. (1984), Gabriel García Márquez, Boston: Twayne Publishers,ISBN 0-8057-6597-2.

Further reading

Martin, Gerald (2008), Gabriel García Márquez. A Life, London: Bloomsbury,ISBN 978-0-7475-9476-5.

External links

Gabriel García Márquez (http://www.imdb.com/name/nm0305781/) at theInternet Movie DatabaseWorks by Gabriel García Márquez on Open Library at the Internet ArchiveWorks about Gabriel García Márquez (http://worldcat.org/identities/lccn-n79-63441) in libraries (WorldCat catalog)Gabriel García Márquez (http://www.nobelprize.org/nobel_prizes/literature/laureates/1982/) at Nobelprize.orgGabriel García Márquez (http://www.antesydespues.com.ar/en/gabriel-garcia-marquez/) Before and AfterGarcía Márquez, Gabriel. "Colombian writer Gabriel García Márquez readingthe first chapter of One Hundred Years of Solitude" (http://sedici.unlp.edu.ar/handle/10915/32972) (in Spanish).

Films

Documentary 52': Gabriel García Márquez (http://www.documen.tv/asset/Gabriel_Gracia_Marquez_Film.html)

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Gabriel García Márquez

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