Gabriel García Márquez
Gabriel José de la Concordia García Márquez (Latin American Spanish: [ɡaˈβɾjel ɣaɾˈsi.a ˈmaɾ.kes] ;[a] 6 March 1927 – 17 April 2014) was a Colombian novelist, short-story writer, screenwriter, and journalist, known affectionately as Gabo ([ˈɡaβo]) or Gabito ([ɡaˈβito]) throughout Latin America. Considered one of the most significant authors of the 20th century, particularly in the Spanish language, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature.[1] He pursued a self-directed education that resulted in leaving law school for a career in journalism. From early on he showed no inhibitions in his criticism of Colombian and foreign politics. In 1958, he married Mercedes Barcha Pardo;[2] they had two sons, Rodrigo and Gonzalo.[3]
In this Spanish name, the first or paternal surname is García and the second or maternal family name is Márquez.
Gabriel García Márquez
Gabriel José García Márquez
6 March 1927
Aracataca, Colombia
17 April 2014 (aged 87)
Mexico City, Mexico
Spanish
- Novels
- short stories
3, including Rodrigo García
García Márquez started as a journalist and wrote many acclaimed non-fiction works and short stories. He is best known for his novels, such as One Hundred Years of Solitude (1967) which sold over fifty million copies, Chronicle of a Death Foretold (1981), and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style known as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations. Some of his works are set in the fictional village of Macondo (mainly inspired by his birthplace, Aracataca), and most of them explore the theme of solitude. He is the most-translated Spanish-language author.[4]
Upon García Márquez's death in April 2014, Juan Manuel Santos, the president of Colombia, called him "the greatest Colombian who ever lived."[5]
$_$_$DEEZ_NUTS#0__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#0__subtitleDEEZ_NUTS$_$_$
Themes[edit]
$_$_$DEEZ_NUTS#3__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#3__descriptionDEEZ_NUTS$_$_$
Solitude[edit]
The theme of solitude runs through much of García Márquez's works. As Pelayo notes, "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".[124]
In response to Plinio Apuleyo Mendoza's question, "If solitude is the theme of all your books, where should we look for the roots of this over-riding emotion? In your childhood perhaps?" García Márquez replied, "I think it's a problem everybody has. Everyone has his own way and means of expressing it. The feeling pervades the work of so many writers, although some of them may express it unconsciously."[125]
In his Nobel Prize acceptance speech, Solitude of Latin America, 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."[126][127]
Macondo[edit]
Another important theme in many of García Márquez's work is the setting of the village he calls Macondo. He uses his home town of Aracataca, Colombia as a cultural, historical and geographical reference to create this imaginary town, but the representation of the village is not limited to this specific area. García Márquez 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."[128] Even when his stories do not take place in Macondo, there is often still a consistent lack of specificity to the location. So while they are often set with "a Caribbean coastline and an Andean hinterland... [the settings are] otherwise unspecified, in accordance with García Márquez's evident attempt to capture a more general regional myth rather than give a specific political analysis."[129] This fictional town has become well known in the literary world. As Stavans notes of Macondo, "its geography and inhabitants constantly invoked by teachers, politicians, and tourist agents..." makes it "...hard to believe it is a sheer fabrication."[130] In Leaf Storm García Márquez depicts the realities of the Banana Boom in Macondo, which include a period of great wealth during the presence of the US companies and a period of depression upon the departure of the American banana companies.[131] One Hundred Years of Solitude takes place in Macondo and tells the complete history of the fictional town from its founding to its doom.[132] The account of Macondo in Constance Pedoto, in "The Handsomest Drowned Man in the World" has been compared to tales from Alaska which combine the real and the surreal, deriving from an upbringing which combined superstitious beliefs and a harsh environment.[133]
In his autobiography, García Márquez explains his fascination with the word and concept Macondo. He describes a trip he made with his mother back to Aracataca as a young man:[134]
$_$_$DEEZ_NUTS#2__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#2__descriptionDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#5__descriptionDEEZ_NUTS$_$_$
García Márquez in fiction[edit]
A year after his death, García Márquez appears as a notable character in Claudia Amengual's novel Cartagena, set in Uruguay and Colombia.[147]
In Giannina Braschi's Empire of Dreams, the protagonist Mariquita Samper shoots the narrator of the Latin American Boom, presumed by critics to be the figure of García Marquez; in Braschi's Spanglish novel Yo-Yo Boing! characters debate the importance of García Márquez and Isabel Allende during a heated dinner party scene.[148][149]
+Gospel of a Crime, mit Jose Saramaho, texte inedite fromm 1969
$_$_$DEEZ_NUTS#7__heading--0DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__description--0DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__heading--1DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__description--1DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__heading--2DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__description--2DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__descriptionDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__heading--0DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__description--0DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__heading--1DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__description--1DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__heading--2DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#6__description--2DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#5__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#7__descriptionDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#8__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#8__subtextDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#4__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#4__subtextDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#9__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#9__subtextDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__titleDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__subtextDEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--0DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--1DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--2DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--3DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--4DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--5DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--6DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--7DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--8DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--9DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--10DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--11DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--12DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--13DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--14DEEZ_NUTS$_$_$
$_$_$DEEZ_NUTS#1__answer--15DEEZ_NUTS$_$_$