Enruque Is Telling His New Friend Andres Abouy His Family

Colombian author and Nobel laureate

In this Castilian name, the beginning or paternal surname is García and the 2nd or maternal family proper noun is Márquez.

Gabriel García Márquez
Marquez in 2002
Born	Gabriel José García Márquez (1927-03-06)6 March 1927 Aracataca, Republic of colombia
Died	17 Apr 2014(2014-04-17) (aged 87) United mexican states Metropolis, Mexico
Language	Spanish
Alma mater	National University of Colombia
Genre	Novels curt stories
Literary movement	Latin American Smash magic realism
Notable works	One Hundred Years of Solitude The Autumn of the Patriarch Dear in the Fourth dimension of Cholera Relate of a Death Foretold
Notable awards	Neustadt International Prize for Literature 1972 Nobel Prize in Literature 1982
Spouse	Mercedes Barcha ​ (m. 1958)​
Children	Rodrigo García Gonzalo García Indira Cato
Signature

Gabriel José de la Concordia García Márquez (American Spanish: [ɡaˈβɾjel ɣaɾˈsi.a ˈmaɾkes] ( listen );^[a] 6 March 1927 – 17 April 2014) was a Colombian novelist, curt-story writer, screenwriter, and announcer, known affectionately as Gabo [ˈɡaβo] or Gabito [ɡaˈβito] throughout Latin America. Considered one of the nearly significant authors of the 20th century, particularly in the Spanish linguistic communication, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature.^[1] He pursued a self-directed instruction that resulted in leaving police force 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 2 sons, Rodrigo and Gonzalo.^[3]

García Márquez started every bit a journalist and wrote many acclaimed not-fiction works and curt stories, simply is all-time known for his novels, such as One Hundred Years of Solitude (1967), Chronicle of a Death Foretold (1981), and Love in the Time of Cholera (1985). His works take achieved significant critical acclamation and widespread commercial success, most notably for popularizing a literary way known equally magic realism, which uses magical elements and events in otherwise ordinary and realistic situations. Some of his works are ready in the fictional village of Macondo (mainly inspired past his birthplace, Aracataca), and near of them explore the theme of solitude.

Upon García Márquez's decease in April 2014, Juan Manuel Santos, the president of Colombia, called him "the greatest Colombian who e'er lived."^[4]

Biography [edit]

Early life [edit]

García Márquez billboard in Aracataca: "I feel Latin American from whatever country, simply I have never renounced the nostalgia of my homeland: Aracataca, to which I returned i twenty-four hour period and discovered that between reality and nostalgia was the raw material for my work".—Gabriel García Márquez

Gabriel García Márquez was born on 6 March 1927^[b] in Aracataca, Republic of colombia, to Gabriel Eligio García and Luisa Santiaga Márquez Iguarán.^[5] Shortly afterward García Márquez was born, his father became a pharmacist and moved, with his wife, to Barranquilla, leaving young Gabriel in Aracataca.^[vi] He was raised past his maternal grandparents, Doña Tranquilina Iguarán and Colonel Nicolás Ricardo Márquez Mejía.^[7] In December 1936 his father took him and his blood brother to Sincé, while in March 1937 his grandad died; the family then moved first (dorsum) to Barranquilla and so on to Sucre, where his father started a pharmacy.^[8]

When his parents fell in dearest, their human relationship met with resistance from Luisa Santiaga Márquez'due south begetter, the Colonel. Gabriel Eligio García was not the man the Colonel had envisioned winning the heart of his daughter: Gabriel Eligio was a Conservative, and had the reputation of existence a womanizer.^{[nine] [10]} Gabriel Eligio wooed Luisa with violin serenades, love poems, countless messages, and even telephone letters after her father sent her abroad with the intention of separating the immature 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.^[9] Her family finally capitulated and gave her permission to marry him^{[xi] [12]} (The tragicomic story of their courtship would later be adapted and recast every bit Love in the Fourth dimension of Cholera.)^{[10] [13]}

Since García Márquez'due south parents were more or less strangers to him for the kickoff few years of his life,^[xiv] his grandparents influenced his early evolution very strongly.^{[15] [16]} His grandfather, whom he chosen "Papalelo",^[xv] was a Liberal veteran of the Thousand Days War.^[17] The Colonel was considered a hero by Colombian Liberals and was highly respected.^[18] He was well known for his refusal to remain silent most the banana massacres that took place the yr after García Márquez was built-in.^[19] The Colonel, whom García Márquez described as his "umbilical cord with history and reality,"^[xx] was also an first-class storyteller.^[21] He taught García Márquez lessons from the lexicon, took him to the circus each yr, and was the first to introduce his grandson to ice—a "phenomenon" found at the United Fruit Visitor store.^[22] He would likewise occasionally tell his young grandson "You can't imagine how much a expressionless human weighs",^{[23] [24]} reminding him that there was no greater burden than to take killed a man, a lesson that García Márquez would subsequently integrate into his novels.

García Márquez's grandmother, Doña Tranquilina Iguarán Cotes, played an influential role in his upbringing. He was inspired by the fashion she "treated the boggling as something perfectly natural."^[25] The firm was filled with stories of ghosts and premonitions, omens and portents,^[26] all of which were studiously ignored by her husband.^[15] According to García Márquez she was "the source of the magical, superstitious and supernatural view of reality".^[20] He enjoyed his grandmother's unique way of telling stories. No affair how fantastic or improbable her statements, she always delivered them as if they were the irrefutable truth. It was a deadpan style that, some 30 years later, heavily influenced her grandson's most popular novel, I Hundred Years of Solitude.^[27]

Education and adulthood [edit]

Later arriving at Sucre, information technology was decided that García Márquez should start his formal instruction and he was sent to an internship in Barranquilla, a port on the mouth of the Río Magdalena. There, he gained a reputation of beingness a timid boy who wrote humorous poems and drew humorous comic strips. Serious and niggling interested in athletic activities, he was called El Viejo by his classmates.^[28]

García Márquez spent his first years of high schoolhouse, from 1940, in the Colegio jesuita San José (today Instituto San José), where he published his get-go poems in the school magazine Juventud. Afterwards, thank you to a scholarship given to him by the authorities, Gabriel was sent to study in Bogotá, and so was relocated to the Liceo Nacional de Zipaquirá, a boondocks i hour away from the majuscule, where he would cease his secondary studies.

During his time at the Bogotá study house, he excelled in various sports, becoming team helm of the Liceo Nacional Zipaquirá team in three disciplines: soccer, baseball, and track.

After his graduation in 1947, García Márquez stayed in Bogotá to study police at the Universidad Nacional de Republic of colombia, but spent nigh of his spare time reading fiction. La metamorfosis by Franz Kafka, specially in the fake translation of Jorge Luis Borges,^[29] was a piece of work that specially inspired him. He was excited by the idea of writing, not traditional literature, just in a style similar to his grandmother's stories, in which she "inserted extraordinary events and anomalies as if they were simply an attribute of everyday life." His want to be a writer grew. A lilliputian later he published his first piece of work, "La tercera resignación", which appeared in the 13 September 1947 edition of the newspaper El Espectador.

Though his passion was writing, he continued with police force in 1948 to please his father. After the so-called "Bogotazo" in 1948, some bloody disturbances that happened 9 Apr acquired by the assassination of popular leader Jorge Eliécer Gaitán, the university closed indefinitely and his boarding house was burned. García Márquez transferred to the Universidad de Cartagena and began working every bit a reporter of El Universal. In 1950 he ended his legal studies to focus on journalism and moved again to Barranquilla to work every bit a columnist and reporter in the newspaper El Heraldo. Though García Márquez never finished his college studies, some universities, including Columbia University, New York, have given him an honorary doctorate in writing.^[28]

Journalism [edit]

García Márquez began his career as a announcer while studying law at the National University of Colombia. In 1948 and 1949 he wrote for El Universal in Cartagena. From 1950 until 1952 he wrote a "whimsical" cavalcade under the proper name of "Septimus" for the local newspaper El Heraldo in Barranquilla.^[xxx] García Márquez noted of his time at El Heraldo, "I'd write a piece and they'd pay me three pesos for information technology, and perhaps an editorial for another three."^[31] During this fourth dimension he became an agile member of the informal group of writers and journalists known equally the Barranquilla Group, an association that provided neat motivation and inspiration for his literary career. He worked with inspirational figures such as Ramon Vinyes, whom García Márquez depicted as an Old Catalan who owns a bookstore in Ane Hundred Years of Solitude.^[32] At this time, García Márquez was too introduced to the works of writers such as Virginia Woolf and William Faulkner. Faulkner's narrative techniques, historical themes and use of rural locations influenced many Latin American authors.^[33] The surroundings of Barranquilla gave García Márquez a earth-class literary education and a unique perspective on Caribbean civilisation. From 1954 to 1955, García Márquez spent time in Bogotá and regularly wrote for Bogotá's El Espectador. He was a regular moving picture critic.

In December 1957 García Márquez accepted a position in Caracas with the magazine Momento directed past his friend Plinio Apuleyo Mendoza. He arrived in the Venezuelan capital on 23 December 1957, and began working right away at Momento. García Márquez also witnessed the 1958 Venezuelan coup d'état, leading to the exile of the president Marcos Pérez Jiménez. Following this event, García Márquez wrote an article, "The participation of the clergy in the struggle", describing the Church of Venezuela opposition confronting Jiménez's authorities. In March 1958 he made a trip to Colombia, where he married Mercedes Barcha and together they returned to Caracas. In May 1958, disagreeing with the owner of Momento, he resigned and became shortly afterwards editor of the newspaper Venezuela Gráfica.^{[ citation needed ]}

Politics [edit]

García Márquez was a "committed leftist" throughout his life, adhering to socialist beliefs.^[34] In 1991 he published Changing the History of Africa, an admiring report of Cuban activities in the Angolan Ceremonious War and the larger Due south African Border War. He maintained a close but "nuanced" friendship with Fidel Castro, praising the achievements of the Cuban Revolution simply criticizing aspects of governance and working to "soften [the] roughest edges" of the country.^[35] García Márquez's political and ideological views were shaped by his grandfather's stories.^[23] In an interview, García Márquez told his friend Plinio Apuleyo Mendoza, "my granddad the Colonel was a Liberal. My political ideas probably came from him to begin with considering, instead of telling me fairy tales when I was young, he would regale me with horrifying accounts of the last civil state of war that free-thinkers and anti-clerics waged confronting the Conservative government."^{[16] [36]} This influenced his political views and his literary technique and then that "in the same style that his writing career initially took shape in conscious opposition to the Colombian literary status quo, García Márquez's socialist and anti-imperialist views are in principled opposition to the global status quo dominated by the United States."^[37]

The Story of a Shipwrecked Sailor [edit]

Ending in controversy, his last domestically written editorial for El Espectador was a series of xiv news articles^{[32] [38]} in which he revealed the hidden story of how a Colombian Navy vessel's shipwreck "occurred because the gunkhole contained a badly stowed cargo of contraband goods that broke loose on the deck."^[39] García Márquez compiled this story through interviews with a young sailor who survived the wreck.^[38] The articles resulted in public controversy, as they discredited the official account of the events, which had 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 exist a foreign correspondent.^[40] He wrote about his experiences for El Independiente, a newspaper that briefly replaced El Espectador during the military government of General Gustavo Rojas Pinilla^[41] and was afterwards close down by Colombian government.^[33] García Márquez'south background in journalism provided a foundational base for his writing career. Literary critic Bell-Villada noted, "Attributable to his hands-on experiences in journalism, García Márquez is, of all the corking living authors, the one who is closest to everyday reality."^[42]

QAP [edit]

García Márquez was one of the original founders of QAP, a Colombian newscast that aired between 1992 and 1997.^[43] He was attracted to the projection by the promise of editorial and journalistic independence.

Marriage and family [edit]

García Márquez met Mercedes Barcha while she was at school; he was 12 and she was 9.^[2] When he was sent to Europe as a strange correspondent, Mercedes waited for him to return to Barranquilla. Finally, they married in 1958.^{[44] [45]} The following year, their first son, Rodrigo García, at present a television set and pic manager, was born.^[45] In 1961, the family traveled by Greyhound omnibus throughout the southern U.s.a. and eventually settled in Mexico Urban center.^[46] García Márquez had ever wanted to encounter the Southern United States because it inspired the writings of William Faulkner.^[47] Three years later, the couple'south 2d son, Gonzalo García, was born in Mexico.^[48] Gonzalo is currently a graphic designer in United mexican states City.^[47]

In Jan 2022, it was reported that García Márquez had a daughter, Indira Cato, from an extramarital affair with Mexican author Susana Cato in the early 1990s. Indira is a documentary producer in Mexico City.^[49]

Leafage Storm [edit]

Leaf Storm (La Hojarasca) is García Márquez's first novella and took seven years to find a publisher, finally being published in 1955.^[l] García Márquez notes that "of all that he had written (as of 1973), Leaf Storm was his favorite because he felt that information technology was the near sincere and spontaneous."^[51] All the events of the novella take place in i room, during a half-hour flow on Midweek 12 September 1928. It is the story of an one-time colonel (similar to García Márquez's ain grandfather) who tries to give a proper Christian burying to an unpopular French md. The colonel is supported only by his daughter and grandson. The novella explores the child's first experience with expiry past following his stream of consciousness. The book too reveals the perspective of Isabel, the Colonel'due south daughter, which provides a feminine point of view.^[32]

In Evil Hour [edit]

In Evil Hour (La mala hora) is García Márquez's second novel get-go published in 1962. At starting time this novel was originally entitled Este pueblo de mierda (This Town of Shit or This Shitty Boondocks). Some of the same characters and situations institute in In Evil Hour subsequently re-appear in One Hundred Years of Solitude.

I Hundred Years of Solitude [edit]

Since 18, García Márquez had wanted to write a novel based on his grandparents' house where he grew up. However, he struggled with finding an advisable tone and put off the idea until ane day the answer hitting him while driving his family unit to Acapulco. He turned the auto around and the family unit returned home so he could brainstorm writing. He sold his motorcar so his family would take money to live on while he wrote, but writing the novel took far longer than he expected, and he wrote every day for eighteen months. His wife had to ask for food on credit from their butcher and their bakery too as ix months of rent on credit from their landlord.^[52] During the 18 months of writing, García Márquez met with two couples, Eran Carmen and Álvaro Mutis, and María Luisa Elío and Jomí García Ascot, every night and discussed the progress of the novel, trying out dissimilar versions.^[53] When the volume was finally published in 1967, information technology became his most commercially successful novel, One Hundred Years of Solitude (Cien años de soledad; English translation past Gregory Rabassa, 1970), which sold more 50 million copies^[54] and was defended "Para (to) Jomí García Ascot y María Luisa Elío."^[53] The story chronicles several generations of the Buendía family from the time they founded the fictional South American hamlet of Macondo, through their trials and tribulations, instances of incest, births and deaths. The history of Macondo is often generalized by critics to represent rural towns throughout Latin America or at least near García Márquez'south native Aracataca.^{[55] [56]}

This novel was widely popular and led to García Márquez's Nobel Prize also every bit the Rómulo Gallegos Prize in 1972. William Kennedy has called information technology "the first piece of literature since the Book of Genesis that should be required reading for the entire homo race,"^[57] and hundreds of articles and books of literary critique have been published in response to it. Despite the many accolades the book received, García Márquez tended to downplay its success. He once remarked: "Most critics don't realize that a novel like Ane Hundred Years of Solitude is a flake of a joke, full of signals to close friends; and and then, with some pre-ordained right to pontificate they take on the responsibility of decoding the book and risk making terrible fools of themselves."^[56]

Fame [edit]

Afterwards 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.^[48] The international recognition García Márquez earned with the publication of the novel led to his ability to act every bit a facilitator in several negotiations between the Colombian government and the guerrillas, including the one-time 19th of April Movement (Thousand-xix), and the current FARC and ELN organizations.^{[58] [59]} The popularity of his writing also led to friendships with powerful leaders, including one with former Cuban president Fidel Castro, which has been analyzed in Gabo and Fidel: Portrait of a Friendship. ^[60] Information technology was during this time that he was punched in the face up by Mario Vargas Llosa in what became ane of the largest feuds in modern literature. In an interview with Claudia Dreifus in 1982 García Márquez notes his relationship with Castro is more often than not based on literature: "Ours is an intellectual friendship. Information technology may not be widely known that Fidel is a very cultured homo. When we're together, we talk a great deal about literature."^[61] This relationship was criticized past Cuban exile writer Reinaldo Arenas, in his 1992 memoir Antes de que Anochezca (Before Night Falls).^[62]

Due to his newfound fame and his outspoken views on The states imperialism, García Márquez was labeled as a destructive and for many years was denied visas past US immigration regime.^[63] Subsequently Neb Clinton was elected US president, he lifted the travel ban and cited One Hundred Years of Solitude as his favorite novel.^[64]

Autumn of the Patriarch [edit]

García Márquez was inspired to write a dictator novel when he witnessed the flight of Venezuelan dictator Marcos Pérez Jiménez. He said, "it was the first time we had seen a dictator autumn in Latin America."^[65] García Márquez began writing Fall of the Patriarch (El otoño del patriarca) in 1968 and said information technology was finished in 1971; still, he continued to embellish the dictator novel until 1975 when it was published in Spain.^[66] According to García Márquez, the novel is a "poem on the solitude of power" as it follows the life of an eternal dictator known as 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.^[67] Although the exact location of the story is not pivot-pointed in the novel, the imaginary country is situated somewhere in the Caribbean area.^[68]

García Márquez gave his own caption of the plot:

My intention was always to brand a synthesis of all the Latin American dictators, but especially those from the Caribbean. Nonetheless, the personality of Juan Vicente Gomez [of Venezuela] was then potent, in addition to the fact that he exercised a special fascination over me, that undoubtedly the Patriarch has much more than of him than anyone else.^[68]

After Autumn of the Patriarch was published García Márquez and his family moved from Barcelona to Mexico City^[48] and García Márquez pledged non to publish again until the Chilean Dictator Augusto Pinochet was deposed. But he ultimately published Chronicle of a Expiry Foretold while Pinochet was still in ability, as he "could not remain silent in the face up of injustice and repression."^[69]

The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother [edit]

The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother (Spanish: La increíble y triste historia de la cándida Eréndira y de su abuela desalmada) presents the story of a immature mulatto daughter who dreams of freedom, but cannot escape the reach of her acquisitive grandmother.

The plot of the novella describes the life journeying of 14-yr-erstwhile Eréndira, who is living with her grandmother when she accidentally sets fire to their domicile. The grandmother forces Eréndira to repay the debt by becoming a prostitute as they travel the road every bit vagrants. Men line upward to enjoy Eréndira'south services. She somewhen escapes with the assistance of her affectionate and somewhat gullible lover, Ulises, but only after he murders her grandmother. After the murder, Eréndira runs off into the night alone, leaving him in the tent with the dead trunk of her grandmother.

Eréndira and her grandmother make an appearance in One Hundred Years of Solitude, an before novel by García Márquez.

The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother was published in 1978. The novella was adjusted to the 1983 art film Eréndira, directed past Ruy Guerra.

Chronicle of a Death Foretold [edit]

Relate of a Decease Foretold (Crónica de una muerte anunciada), which literary critic Ruben Pelayo chosen a combination of journalism, realism and detective story,^[lxx] is inspired past a real-life murder that took place in Sucre, Colombia, in 1951, merely García Márquez maintained that nothing of the actual events remains beyond the point of difference and the structure.^[71] The character of Santiago Nasar is based on a good friend from García Márquez'south childhood, Cayetano Gentile Chimento.^[72]

The plot of the novel revolves around Santiago Nasar's murder. The narrator acts as a detective, uncovering the events of the murder every bit the novel proceeds.^[73] Pelayo notes that the story "unfolds in an inverted fashion. Instead of moving forrard... the plot moves backward."^[74]

Relate of a Decease Foretold was published in 1981, the year before García Márquez was awarded the 1982 Nobel Prize in Literature.^[72] The novel was also adapted into a film by Italian director Francesco Rosi in 1987.^[73]

Honey in the Time of Cholera [edit]

Dearest in the Fourth dimension of Cholera (El amor en los tiempos del cólera) was offset published in 1985. It is considered a non-traditional love story as "lovers notice dearest in their 'golden years'—in their seventies, when death is all around them".^[75]

Love in the Time of Cholera is based on the stories of 2 couples. The young love of Fermina Daza and Florentino Ariza is based on the beloved thing of García Márquez'southward parents.^[76] But as García Márquez explained in an interview: "The only departure is [my parents] married. And equally shortly as they were married, they were no longer interesting equally literary figures."^[76] The love of sometime people is based on a newspaper story well-nigh the death of two Americans, who were about 80 years old, who met every year in Acapulco. They were out in a boat one day and were murdered past the boatman with his oars. García Márquez notes, "Through their expiry, the story of their secret romance became known. I was fascinated by them. They were each married to other people."^[77]

News of a Kidnapping [edit]

News of a Kidnapping (Noticia de un secuestro) was first published in 1996. It is a non-fiction book that examines a series of related kidnappings and narcoterrorist deportment committed in the early 1990s in Colombia by the Medellín Cartel, a drug cartel founded and operated by Pablo Escobar. The text recounts the kidnapping, imprisonment, and eventual release of prominent figures in Colombia, including politicians and members of the press. The original idea of the volume was proposed to García Márquez by the erstwhile government minister for instruction Maruja Pachón Castro and Colombian diplomat Luis Alberto Villamizar Cárdenas, both of whom were among the many victims of Pablo Escobar'south attempt to pressure level the government to end his extradition by committing a series of kidnappings, murders and terrorist actions.^[78]

Living to Tell the Tale and Memories of My Melancholy Whores [edit]

In 2002 García Márquez published the memoir Vivir para contarla, the first of a projected three-volume autobiography. Edith Grossman'south English language translation, Living to Tell the Tale, was published in Nov 2003.^[79] October 2004 brought the publication of a novel, Memories of My Melancholy Whores (Memoria de mis putas tristes), a dear story that follows the romance of a 90-year-old man and a child forced into prostitution. Memories of My Melancholy Whores caused controversy in Iran, where information technology was banned after an initial 5,000 copies were printed and sold.^{[fourscore] [81]}

Film and opera [edit]

Critics frequently describe the language that García Márquez's imagination produces equally visual or graphic,^[82] and he himself explains each of his stories is inspired by "a visual paradigm,"^[83] so it comes every bit no surprise that he had a long and involved history with film. He was a film critic, he founded and served every bit executive director of the Film Institute in Havana,^[82] was the caput of the Latin American Film Foundation, and wrote several screenplays.^[33] For his offset script he worked with Carlos Fuentes on Juan Rulfo's El gallo de oro.^[82] His other screenplays include the films Tiempo de morir (1966), (1985) and Un señor muy viejo con unas alas enormes (1988), likewise equally the boob tube series Amores difíciles (1991).^{[82] [84]}

García Márquez also originally wrote his Eréndira as a third screenplay. Nonetheless, this version was lost and replaced by the novella. Nonetheless, he worked on rewriting the script in collaboration with Ruy Guerra and the film was released in United mexican states in 1983.^[85]

Several of his stories have inspired other writers and directors. In 1987, the Italian managing director Francesco Rosi directed the moving picture Cronaca di una morte annunciata based on Relate of a Death Foretold.^[86] Several picture show adaptations have been made in Mexico, including Miguel Littín's La Viuda de Montiel (1979), Jaime Humberto Hermosillo'due south Maria de mi corazón (1979),^[87] and Arturo Ripstein's El coronel no tiene quien le escriba (1998).^[88]

British manager Mike Newell (Four Weddings and a Funeral) filmed Love in the Time of Cholera in Cartagena, Colombia, with the screenplay written past Ronald Harwood (The Pianist). The motion picture was released in the U.S. on 16 November 2007.^[89]

His novel Of Love and Other Demons was adjusted and directed by a Costa Rican filmmaker, Hilda Hidalgo, who is a graduate of the Film Establish at Havana where García Márquez would ofttimes impart screenplay workshops. Hidalgo's film was released in Apr 2010. The same novel was adapted by Hungarian composer Péter Eötvös to class the opera Love and Other Demons, premiered in 2008 at Glyndebourne Festival.

Later life and death [edit]

Declining health [edit]

In 1999 García Márquez was misdiagnosed with pneumonia instead of lymphatic cancer.^[64] Chemotherapy at a hospital in Los Angeles proved to exist successful, and the affliction went into remission.^{[64] [90]} This result prompted García Márquez to begin writing his memoirs: "I reduced relations with my friends to a minimum, disconnected the telephone, canceled the trips and all sorts of electric current and futurity plans", he told El Tiempo, the Colombian newspaper, "and locked myself in to write every day without interruption."^[90] In 2002, 3 years later, he published Living to Tell the Tale (Vivir para Contarla), the showtime book in a projected trilogy of memoirs.^[ninety]

In 2000 his impending death was incorrectly reported by Peruvian daily newspaper La República. The next solar day other newspapers republished his alleged farewell verse form, "La Marioneta," merely shortly afterwards García Márquez denied being the author of the poem, which was adamant to be the piece of work of a Mexican ventriloquist.^{[91] [92] [93]}

He stated that 2005 "was the showtime [twelvemonth] in my life in which I oasis't written even a line. With my experience, I could write a new novel without whatsoever bug, but people would realise my center wasn't in information technology."^[94]

In May 2008 it was appear that García Márquez was finishing a new "novel of honey" that had withal to be given a title, to exist published by the stop of the year.^[95] However, in April 2009 his agent, Carmen Balcells, told the Chilean newspaper La Tercera that García Márquez was unlikely to write once again.^[94] This was disputed by Random Firm Mondadori editor Cristobal Pera, who stated that García Márquez was completing a new novel called Nosotros'll Meet in August (En agosto nos vemos).^[96]

In December 2008 García Márquez told fans at the Guadalajara book fair that writing had worn him out.^[94] In 2009, responding to claims by both his literary agent and his biographer that his writing career was over, he told Colombian newspaper El Tiempo: "Not simply is it not truthful, but the only thing I practise is write".^{[94] [97]}

In 2012 his brother Jaime announced that García Márquez was suffering from dementia.^[98]

In Apr 2014, García Márquez was hospitalized in Mexico. He had infections in his lungs and his urinary tract, and was suffering from dehydration. He was responding well to antibiotics. Mexican president Enrique Peña Nieto wrote on Twitter, "I wish him a speedy recovery". Colombian president Juan Manuel Santos said his country was thinking of the writer and said in a tweet: "All of Colombia wishes a speedy recovery to the greatest of all time: Gabriel García Márquez."^[99]

Decease and funeral [edit]

García Márquez died of pneumonia at the age of 87 on 17 April 2014, in Mexico City.^{[100] [101]} His death was confirmed by his relative Fernanda Familiar on Twitter,^[3] and by his former editor Cristóbal Pera.^[102]

The Colombian president Juan Manuel Santos mentioned: "Ane Hundred Years of Solitude and sadness for the death of the greatest Colombian of all fourth dimension".^[3] The one-time Colombian president 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."^[103] At the fourth dimension of his decease, García Márquez had a wife and 2 sons.^[102]

García Márquez was cremated at a private family unit ceremony in Mexico City. On 22 April the presidents of Colombia and United mexican states attended a formal anniversary in Mexico City, where García Márquez had lived for more than than three decades. A funeral cortege took the urn containing his ashes from his house to the Palacio de Bellas Artes, where the memorial ceremony was held. Earlier, residents in his home town of Aracataca in Republic of colombia's Caribbean region held a symbolic funeral.^[104] In February 2015, the heirs of Gabriel García Marquez deposited a legacy of the writer in his Memoriam n the Caja de las Letras of the Instituto Cervantes.^[105]

Style [edit]

In every volume I try to make a different path ... . One doesn't choose the style. Y'all tin investigate and attempt to discover what the best mode would be for a theme. Only the mode is adamant by the subject field, by the mood of the times. If yous try to utilise something that is not suitable, it just won't work. And then the critics build theories effectually that and they see things I hadn't seen. I but respond to our way of life, the life of the Caribbean.^[106]

García Márquez was noted for leaving out seemingly important details and events and then the reader is forced into a more participatory role in the story development. For example, in No One Writes to the Colonel, the principal characters are non given names. This practice is influenced by Greek tragedies, such as Antigone and Oedipus King, in which of import events occur off-stage and are left to the audience'south imagination.^[107]

Realism and magical realism [edit]

Reality is an important theme in all of García Márquez's works. He said of his early on works (with the exception of Leaf Tempest), "Nobody Writes to the Colonel, In Evil Hour, and Big Mama'southward Funeral all reflect the reality of life in Republic of colombia and this theme determines the rational construction of the books. I don't regret having written them, but they belong to a kind of premeditated literature that offers also static and exclusive a vision of reality."^[108]

In his other works he experimented more than with less traditional approaches to reality, and so that "the near frightful, the most unusual things are told with the deadpan expression".^[109] A commonly cited example is the physical and spiritual ascending into heaven of a character while she is hanging the laundry out to dry in Ane Hundred Years of Confinement. The style of these works fits in the "marvellous realm" described past the Cuban author Alejo Carpentier and was labeled as magical realism.^[110] Literary critic Michael Bell proposes an culling agreement for García Márquez'due south style, as the category magic realism is criticized for being dichotomizing and exoticizing, "what is really at pale is a psychological suppleness which is able to inhabit unsentimentally the daytime world while remaining open to the promptings of those domains which mod culture has, past its own inner logic, necessarily marginalised or repressed."^[111] García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a similar style,

The fashion you treat reality in your books ... has been chosen magical realism. I have the feeling your European readers are usually aware of the magic of your stories just fail to run across the reality behind it .... This is surely because their rationalism prevents them seeing that reality isn't limited to the price of tomatoes and eggs.^[112]

Themes [edit]

Solitude [edit]

The theme of solitude runs through much of García Márquez's works. As Pelayo notes, "Honey in the Fourth dimension of Cholera, like all of Gabriel García Márquez's piece of work, explores the solitude of the individual and of humankind...portrayed through the solitude of love and of existence in love".^[113]

In response to Plinio Apuleyo Mendoza'south question, "If confinement is the theme of all your books, where should we await for the roots of this over-riding emotion? In your childhood perhaps?" García Márquez replied, "I call up information technology's a problem everybody has. Everyone has his own way and means of expressing information technology. The feeling pervades the piece of work of and then many writers, although some of them may express information technology unconsciously."^[114]

In his Nobel Prize acceptance oral communication, Solitude of Latin America, he relates this theme of confinement to the Latin American feel, "The estimation of our reality through patterns non our own, serves only to make us ever more unknown, ever less costless, ever more solitary."^[115]

Macondo [edit]

Another important theme in many of García Márquez's piece of work is the setting of the village he calls Macondo. He uses his dwelling town of Aracataca, Republic of colombia as a cultural, historical and geographical reference to create this imaginary boondocks, 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 encounter what y'all desire, and how yous want to see information technology."^[116] Even when his stories do not take place in Macondo, in that location is often still a consistent lack of specificity to the location. So while they are often gear up with "a Caribbean area 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 requite a specific political analysis."^[117] This fictional town has get well known in the literary earth. Equally 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."^[118] In Leafage Tempest García Márquez depicts the realities of the Banana Boom in Macondo, which include a menses of peachy wealth during the presence of the US companies and a period of low upon the departure of the American banana companies.^[119] Too, One Hundred Years of Solitude takes place in Macondo and tells the complete history of the fictional town from its founding to its doom.^[120]

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 equally a swain:

The railroad train stopped at a station that had no town, and a curt while later it passed the only banana plantation along the route that had its proper name written over the gate: Macondo. This word had attracted my attention e'er since the first trips I had made with my grandfather, but I discovered only equally an adult that I liked its poetic resonance. I never heard anyone say it and did not even inquire myself what it meant...I happened to read in an encyclopedia that it is a tropical tree resembling the Ceiba.^[121]

La Violencia [edit]

In several of García Márquez'south works, including No Ane Writes to the Colonel, In Evil Hour, and Leaf Storm, he referenced La Violencia (the violence), "a brutal civil war between conservatives and liberals that lasted into the 1960s, causing the deaths of several hundred m Colombians".^{[38] [122]} Throughout all of his novels there are subtle references to la violencia. For instance, characters live under various unjust situations like curfew, press censorship, and underground newspapers.^[123] In Evil 60 minutes, while not one of García Márquez'due south well-nigh famous novels, is notable for its portrayal of la violencia with its "fragmented portrayal of social disintegration provoked by la violencia".^[124] Although García Márquez did portray the decadent nature and the injustices of times like la violencia, he refused to use his work every bit a platform for political propaganda. "For him, the duty of the revolutionary writer is to write well, and the ideal novel is 1 that moves its reader by its political and social content, and, at the same time, by its power to penetrate reality and expose its other side.^[123]

Legacy [edit]

Whether in fiction or nonfiction, in the epic novel or the full-bodied story, Márquez is now recognized in the words of Carlos Fuentes as "the virtually popular and perhaps the best writer in Castilian since Cervantes". He is ane of those very rare artists who succeed in chronicling non only a nation's life, culture and history, simply also those of an entire continent, and a master storyteller who, every bit The New York Review of Books once said, "forces upon u.s.a. at every page the wonder and extravagance of life."^[125]

García Márquez's piece of work is an of import part of the Latin American Boom of literature.^[126] His work has challenged critics of Colombian literature to footstep out of the conservative criticism that had been dominant before the success of One Hundred Years of Solitude. In a review of literary criticism Robert Sims notes,

García Márquez continues to cast a lengthy shadow in Colombia, Latin America, and the The states. Critical works on the 1982 Nobel laureate have reached industrial proportion and bear witness no signs of abating. Moreover, García Márquez has galvanized Colombian literature in an unprecedented way by giving a tremendous impetus to Colombian literature. Indeed, he has become a touchstone for literature and criticism throughout the Americas as his work has created a sure attraction-repulsion among critics and writers while readers continue to devour new publications. No i can deny that García Márquez has helped rejuvenate, reformulate, and recontextualize literature and criticism in Colombia and the residue of Latin America.^[127]

Post-obit his decease, García Márquez's family made the decision to deposit his papers and some of his personal furnishings at The University of Texas at Austin's Harry Ransom Center, a humanities inquiry library and museum.^{[128] [129]}

Nobel Prize [edit]

García Márquez received the Nobel Prize in Literature on 10 Dec 1982 "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed earth of imagination, reflecting a continent's life and conflicts". His acceptance speech was entitled "The Confinement of Latin America".^[130] García Márquez was the starting time Colombian and fourth Latin American to win a Nobel Prize for Literature.^[131] Later becoming a Nobel laureate, García Márquez stated to a correspondent: "I have the impression that in giving me the prize, they have taken into business relationship the literature of the sub-continent and have awarded me as a way of awarding all of this literature".^[69]

García Márquez in fiction [edit]

• A year later his expiry, García Márquez appears as a notable character in Claudia Amengual'due south novel Cartagena, gear up in Uruguay and Colombia.
• In John Green'due south novel Looking for Alaska, García Márquez is mentioned several times.
• In Reinaldo Arenas'south novel The Color of Summer, or the New Garden of Earthly Delights, García Marquez is vilified as "Gabriel García Markoff".
• In Giannina Braschi's Empire of Dreams, the protagonist Mariquita Samper shoots the narrator of the Latin American Boom, presumed past critics to exist the figure of García Marquez; in Braschi'southward Spanglish novel Yo-Yo Boing! characters debate the importance of García Marquez and Isabel Allende during a heated dinner party scene.^{[132] [133]}

List of works [edit]

Novels [edit]

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

Novellas [edit]

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

Short story collections [edit]

• Eyes of a Blue Domestic dog (1947)
• Large Mama's Funeral (1962)
• The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother (1972)
• Collected Stories (1984)
• Foreign Pilgrims (1993)
• A Very Old Man with Enormous Wings (1968)

Non-fiction [edit]

• The Story of a Shipwrecked Sailor (1970)
• The Solitude of Latin America (1982)
• The Fragrance of Guava (1982, with Plinio Apuleyo Mendoza)
• Cloak-and-dagger in Chile (1986)
• Changing the History of Africa: Angola and Namibia (1991, with David Deutschmann)
• News of a Kidnapping (1996)
• A Country for Children (1998)
• Living to Tell the Tale (2002)
• The Scandal of the Century: Selected Journalistic Writings, 1950–1984 (2019)

Films [edit]

Twelvemonth	Pic	Credited as
		Managing director	Writer
1954	The Blueish Lobster	Aye	Yes
1964	The Gold Cockerel		Yes[134]
1965	Beloved, Love, Love (Lola de mi vida segment)		Yes
1966	Time to Die		Yes[134]
1967	Unsafe Game		Yes
1968	four contra el crimen		Yes
1974	Presage		Yes[134]
1979	Mary my Dearest		Yes[134]
1979	The Twelvemonth of the Plague		Yeah
1983	Eréndira		Yes[134]
1985	Time to Dice		Yes[134]
1988	A Very Old Man with Enormous Wings		Yep[134]
1988	Fable of the Beautiful Pigeon Fancier		Yes[134]
1989	A Happy Sunday		Yes[134]
1989	Letters from the Park		Yes[134]
1989	Miracle in Rome		Yes[134]
1990	Don't Fool with Honey: The Two Way Mirror		Yes
1991	Far Apart		Yes
1991	La María		Yes
1992	Me alquilo para soñar		Yep
1993	Crónicas de una generación trágica		Aye
1996	Oedipus Mayor		Yes[134]
1996	Saturday Dark Thief		Yeah
2001	The Invisible Children		Yeah
2006	ZA 05. Lo viejo y lo nuevo		Yeah
2011	Lessons for a Kiss		Yes

Adaptations based on his works [edit]

• At that place Are No Thieves in This Hamlet (1965, Alberto Isaac)
• Patsy, My Love (1969, Manuel Michel, based on a non-published story)
• The Widow of Montiel (1979, Miguel Littín)
• The Sea of Lost Fourth dimension (1980, Solveig Hoogesteijn)
• One Hundred Years of Solitude (1981, Shūji Terayama)
• Farewell to the Ark (1984, Shūji Terayama)
• Time to Die (1984, Jorge Alí Triana)
• Relate of a Death Foretold (1987, Francesco Rosi)
• The Summer of Miss Forbes (1989, Jaime Humberto Hermosillo)
• I'g the Ane You're Looking For (1989, Jaime Chávarri)
• Only Expiry Is Bound to Come (1992, Marina Tsurtsumia)
• Bloody Morning (1993, Shaohong Li)
• No One Writes to the Colonel (1999, Arturo Ripstein)
• In Evil Hour (2005, Ruy Guerra)
• Love in the Time of Cholera (2007, Mike Newell)
• Of Love and Other Demons (2009, Hilda Hidalgo)
• Memories of My Melancholy Whores (2011, Henning Carlsen)

See also [edit]

• The Handsomest Drowned Man in the World
• Latin American Blast
• Latin American Literature
• McOndo
• Vallenato

Notes [edit]

1. ^ In isolation, García is pronounced [ɡaɾˈsi.a]
2. ^ "On Sun 6 March 1928, at 9am, in the midst of an unseasonal rainstorm, a baby male child, Gabriel José García Márquez, was born." (Martin 2008, p. 27)

References [edit]

1. ^ "The Nobel Prize in Literature 1982". NobelPrize.org. Nobel Media AB 2014. Retrieved 18 April 2014.
2. ^ ^{a b} Osorio, Camila (fifteen August 2020). "Muere Mercedes Barcha, la mujer que hizo posible el éxito de García Márquez". EL PAÍS (in Spanish). El Pais. Retrieved 16 August 2020.
3. ^ ^{a b c} "Writer Gabriel Garcia Marquez dies". BBC News. 18 Apr 2014. Retrieved 2 April 2020.
4. ^ Vulliamy, Ed (19 April 2014). "Gabriel García Márquez: 'The greatest Colombian who always lived' | Books". The Guardian . Retrieved 18 July 2017.
5. ^ Martin 2008, p. 27
6. ^ Martin 2008, p. 30
7. ^ García Márquez 2003, p. 11
8. ^ Martin 2008, pp. 58–66
9. ^ ^{a b} Saldívar 1997, p. 82
10. ^ ^{a b} García Márquez 2003, p. 45
11. ^ Apuleyo Mendoza & García Márquez 1983, pp. 11–12
12. ^ Saldívar 1997, p. 85
13. ^ Saldívar 1997, p. 83
14. ^ Saldívar 1997, p. 87
15. ^ ^{a b c} Saldívar 1997, p. 102
16. ^ ^{a b} Apuleyo Mendoza & García Márquez 1983, p. 96
17. ^ Saldívar 1997, p. 35
18. ^ Saldívar 1997, p. 103
19. ^ Saldívar 1997, p. 105
20. ^ ^{a b} Simons, Marlise (v December 1982). "A Talk With Gabriel García Marquez". The New York Times . Retrieved 24 March 2008.
21. ^ Saldívar 1997, p. 106
22. ^ Saldívar 1997, p. 104
23. ^ ^{a b} Saldívar 1997, p. 107
24. ^ Apuleyo Mendoza & García Márquez 1983, p. 13
25. ^ Apuleyo Mendoza & García Márquez 1983, p. 12
26. ^ Saldívar 1997, p. 96
27. ^ Saldívar 1997, pp. 97–98
28. ^ ^{a b} Martin 2008
29. ^ Pestaña Castro, Cristina (1999). "Cristina Pestaña: ¿Quién tradujo por primera vez La metamorfosis al castellano? -nº eleven Espéculo". Ucm.es . Retrieved 18 July 2017.
30. ^ Bell 1993, p. 6
31. ^ Bell-Villada 2006, p. 84
32. ^ ^{a b c} Pelayo 2001, p. v
33. ^ ^{a b c} Bong 1993, p. seven
34. ^ ""Our Own Make of Socialism": An Interview with Gabriel García Márquez". Jacobinmag.com. 22 Apr 2014. Retrieved xviii July 2017. Gabriel García Márquez on Fidel Castro, the Soviet Union, and creating "a authorities which would make the poor happy".
35. ^ Whitney, Joel (19 April 2014). "Gabriel García Márquez and Fidel Castro: A circuitous and nuanced comraderie | Al Jazeera America". America.aljazeera.com . Retrieved 18 July 2017.
36. ^ Saldívar 1997, p. 98
37. ^ Bell-Villada 1990, p. 63
38. ^ ^{a b c} McMurray 1987, p. 6
39. ^ McMurray 1987, p. 7
40. ^ Pelayo 2001, p. half dozen
41. ^ Lleras Camargo, Alberto (in Spanish), Biblioteca Luis Ángel Arango, retrieved two December 2008
42. ^ Bell-Villada 1990, p. 62
43. ^ "LA ÚLTIMA EMISIÓN DE QAP – Archivo Digital de Noticias de Colombia y el Mundo desde 1.990". Eltiempo.com. 30 December 1997. Retrieved eighteen July 2017.
44. ^ Saldívar 1997, p. 372
45. ^ ^{a b} Pelayo 2001, p. vii
46. ^ Bong-Villada 2006, pp. twenty–xxi
47. ^ ^{a b} Pelayo 2001, p. eight
48. ^ ^{a b c} Bell-Villada 2006, p. xxi
49. ^ "Colombian Author Gabriel Garcia Marquez Had Secret Mexican Daughter". The Hollywood Reporter. Associated Printing. 17 January 2022. Archived from the original on 18 January 2022. Retrieved 18 January 2022.
50. ^ "Of love and other demons". Penguin Group. Archived from the original on 29 June 2008.
51. ^ Pelayo 2001, p. 28
52. ^ Apuleyo Mendoza & García Márquez 1983, pp. 74–75
53. ^ ^{a b} Jaime, Victor Nunez (21 Apr 2014). "María Luisa Elío, la destinataria de Cien años de soledad". El País (in Spanish). Madrid, Spain. Retrieved xv Apr 2015.
54. ^ "100 years of Solitude". Bbc.com. 30 December 2021. Retrieved 24 April 2014. {{cite spider web}}: CS1 maint: url-condition (link)
55. ^ Pelayo 2001, p. 97
56. ^ ^{a b} Apuleyo Mendoza & García Márquez 1983, p. 72
57. ^ García Márquez (1990), 1 Hundred Years of Confinement , HarperCollins, ISBN978-0-87352-535-0
58. ^ Vargas, Alejo, Gabriel García Márquez y la paz colombiana. (in Castilian), ElColombiano.com, retrieved 5 February 2008
59. ^ García Márquez media por la paz (in Spanish), BBC Mundo, 13 March 2007, retrieved five February 2008
60. ^ Esteban & Panichelli 2004
61. ^ Bong-Villada 2006, p. 100
62. ^ Arenas 1993, p. 278
63. ^ Bell-Villada 1990, p. 67
64. ^ ^{a b c} Bell-Villada 2006, p. xxii
65. ^ Apuleyo Mendoza & García Márquez 1983, p. 81
66. ^ Kennedy, William (31 October 1976). "A Stunning Portrait of a Monstrous Caribbean area Tyrant". The New York Times . Retrieved 24 March 2008.
67. ^ Williams 1984, p. 112
68. ^ ^{a b} Williams 1984, p. 111
69. ^ ^{a b} Maurya 1983, p. 58
70. ^ Pelayo 2001, p. 115
71. ^ An Interview with Gabriel García Márquez, in Murray, Glen (ed.), Cencrastus No. 7, Winter 1981–82, pp. half dozen & 7.
72. ^ ^{a b} Pelayo 2001, p. 111
73. ^ ^{a b} Pelayo 2001, p. 112
74. ^ Pelayo 2001, p. 113
75. ^ Pelayo 2001, p. 11
76. ^ ^{a b} Bell-Villada 2006, p. 156
77. ^ Bell-Villada 2006, p. 157
78. ^ "Maruja Pachón, ex ministra de Educación". Semana. 23 May 2009.
79. ^ García Márquez 2003
80. ^ Sarkouhi, Faraj (26 November 2007). "Iran: Book Censorship The Rule, Not The Exception". Payvands' Iran News . Retrieved 29 March 2008.
81. ^ Ron, Jesus (four December 2007). "Commotion in Paris, writer banned from Iran, Chavez at odds w/ Colombia & Spain". Rutgers Observer. Archived from the original on 13 Dec 2007. Retrieved 29 March 2008.
82. ^ ^{a b c d} Stavans 1993, p. 65
83. ^ Apuleyo Mendoza & García Márquez 1983, p. 26
84. ^ Gonzales 1994, p. 43
85. ^ Aufderheide, Patricia. "Cross-cultural film guide". American University Library. Archived from the original on xix Dec 2007.
86. ^ Gonzales 1994, p. 33
87. ^ Mraz 1994
88. ^ de la Mora & Ripstein 1999, p. 5
89. ^ Douglas, Edward (12 November 2007). "Mike Newell on Love in the Time of Cholera". comingsoon.cyberspace . Retrieved 25 March 2008.
90. ^ ^{a b c} Forero, Juan (9 October 2002). "A Storyteller Tells His Ain Story; García Márquez, Fighting Cancer, Issues Memoirs". The New York Times . Retrieved 21 March 2008.
91. ^ "García Márquez: 'Lo que me puede matar es que alguien crea que escribí una cosa tan cursi.'". El País. 31 May 2000. Retrieved 10 July 2012.
92. ^ "García Márquez: "Lo que me mata es que crean que escribo así"". Elsalvador.com. Archived from the original on 12 May 2014. Retrieved 26 March 2008.
93. ^ Boese, Alex (2002). "García Márquez Bye Alphabetic character". Museum of Hoaxes. Retrieved 26 March 2008.
94. ^ ^{a b c d} Hamilos, Paul (2 Apr 2009). "Gabriel García Márquez, literary giant, lays downward his pen". The Guardian . Retrieved 2 April 2009.
95. ^ Keeley, Graham (viii May 2008). "Magic triumphs over realism for García Márquez". The Guardian . Retrieved 11 May 2008.
96. ^ Yin, Maryann (29 October 2010). "Gabriel García Márquez Writing New Novel". Galleycat. Archived from the original on 14 March 2013. Retrieved eight August 2011.
97. ^ Flood, Alison (6 April 2009). "Gabriel García Márquez: I'm still writing". The Guardian . Retrieved 6 April 2009.
98. ^ Alexander, Harriet (7 June 2012). "Gabriel Garcia Marquez suffering from dementia". The Telegraph. Archived from the original on 11 Jan 2022.
99. ^ Lopez, Elwyn (4 April 2014). "Literary giant Gabriel García Márquez hospitalized". CNN. Retrieved 18 April 2014.
100. ^ Torres, Paloma; Valdez, Maria G. (17 Apr 2014). "Gabriel García Márquez Dies: Famed Colombian Writer And Nobel Laureate Dead At 87 From Pneumonia". Latin Times . Retrieved 17 Apr 2014.
101. ^ Castillo, E. Eduardo; Bajak, Frank (17 April 2014). "Garcia Marquez, Nobel Laureate, Dies at 87". Associated Printing. Archived from the original on 19 Apr 2014. Retrieved two April 2020.
102. ^ ^{a b} Kandell, Jonathan (17 April 2014). "Gabriel García Márquez, Literary Pioneer, Dies at 87". The New York Times . Retrieved 17 April 2014.
103. ^ "El adiós a Gabriel García Márquez en Twitter" [The bye to García Márquez on Twitter]. La Nación (in Spanish). 17 April 2014. Retrieved 17 April 2014.
104. ^ Grant, Will (22 April 2014). "BBC News – Mexico and Colombia hold Gabriel Garcia Marquez memorials". Bbc.co.united kingdom of great britain and northern ireland. Retrieved 24 April 2014.
105. ^ "Gabriel García Márquez". www.cervantes.es. Departamento de Bibliotecas y Documentación del Instituto Cervantes. Oct 2015.
106. ^ Simons, Marlise (21 Feb 1988). "Gabriel Márquez on Love, Plagues and Politics". The New York Times . Retrieved thirty July 2008.
107. ^ Bong-Villada 1990, p. 75
108. ^ Apuleyo Mendoza & García Márquez 1983, p. 56
109. ^ McMurray 1987, p. 18
110. ^ Maurya 1983, p. 57
111. ^ Bell 1993, p. 49
112. ^ Apuleyo Mendoza & García Márquez 1983, p. 35
113. ^ Pelayo 2001, p. 136
114. ^ Apuleyo Mendoza & García Márquez 1983, p. 54
115. ^ García Márquez 1982
116. ^ Apuleyo Mendoza & García Márquez 1983, p. 77
117. ^ Bong 1993, p. lxx
118. ^ Stavans 1993, p. 58
119. ^ McMurray 1987, p. 15
120. ^ McMurray 1987, p. 17
121. ^ García Márquez 2003, p. 19
122. ^ Pelayo 2001, p. 43
123. ^ ^{a b} McMurray 1987, p. 16
124. ^ McMurray 1987, p. 25
125. ^ One Hundred years of Solitude, by Gabriel Garcia Marquez, 2003, Harper Collins: New York, ISBN 978-0-06-088328-seven, post-script department entitled: 'P.S. Insights, Interviews & More' pgs 2–12
126. ^ Bacon 2001, p. 833
127. ^ Sims 1994, p. 224
128. ^ "Gabriel García Márquez Archive Opens for Research on October 21". world wide web.hrc.utexas.edu . Retrieved one April 2020.
129. ^ Schuessler, Jennifer (2 Apr 2018). "Gabriel García Márquez'due south Archive Freely Bachelor Online". The New York Times. ISSN 0362-4331.
130. ^ García Márquez 1982, run into Pelayo 2001, p. 11
131. ^ Maurya 1983, p. 53
132. ^ Rogers, Charlotte (2016). "Arellano, Jerónimo. Magical Realism and the History of the Emotions in Latin America. Lewisburg, PA: Bucknell Academy Printing, 2015. Print. 211 pp". Transmodernity: Periodical of Peripheral Cultural Production of the Luso-Hispanic World. vi (2). doi:10.5070/T462033564 . Retrieved vii Baronial 2020.
133. ^ "Poets, Philosophers, Lovers". University of Pittsburgh Press . Retrieved 7 Baronial 2020.
134. ^ ^{a b c d east f g h i j k l} Gabriel García Márquez at AllMovie

General bibliography [edit]

• Allen, James Sloan (2008), Worldly Wisdom: Cracking Books and the Meanings of Life , Savannah, Ga.: Frederic C. Beil, ISBN978-1-929490-35-vi
• Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava, London: Verso, ISBN978-0-86091-765-6 .
• Arenas, Reinaldo (1993), Earlier Dark Falls, New York: Viking, ISBN978-0-670-84078-half dozen .
• Salary, Susan (December 2001), "Review of Conversations with Latin American Writers: Gabriel Garcia Marquez", Hispania, American Association of Teachers of Spanish and Portuguese, 84 (iv): 833, doi:10.2307/3657872, JSTOR 3657872 .
• Bong, Michael (1993), Gabriel García Márquez: Confinement and Solidarity, Hampshire: Macmillan, ISBN978-0-333-53765-7 .
• Bell-Villada, Factor H. (1990), García Márquez: The Man and His Work, North Carolina: University of N Carolina Press, ISBN978-0-8078-1875-6 .
• Bong-Villada, Factor H., ed. (2006), Conversations with Gabriel García Márquez, Jackson: University Press of Mississippi, ISBN978-i-57806-784-8 .
• Bhalla, Alok, ed. (1987), García Márquez and Latin America, New Delhi: Sterling Publishers Private Limited .
• Bloom, Harold, ed. (2007), Gabriel García Márquez, New York: Chelsea Business firm, ISBN978-0-7910-9312-2 .
• Cebrian, Juan Luis (1997), Retrato de Gabriel García Márquez, Gutenberg: Círculo de Lectores, ISBN978-84-226-5572-v .
• Esteban, Angel; Panichelli, Stephanie (2004), Gabo Y Fidel: el paisaje de una amistad, Planeta Publishing .
• García Márquez, Gabriel (1982), "Nobel lecture", in Frängsmyr, Tore; Allen, Sture (eds.), 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, ISBN978-0-06-011417-half-dozen .
• García Márquez, Gabriel (2003), Living to tell the tale, New York: Alfred A. Knopf, ISBN978-one-4000-4134-3 .
• Gonzales, Nelly (1994), Bibliographic Guide to Gabriel García Márquez, 1986–1992 , Oxford: Greenwood Publishing Group, ISBN978-0-313-28832-6 .
• Hernández, Consuelo. "El Amor en los tiempos del cólera es una novela popular." Diario la Prensa: New York, 4 October. 1987.
• Martin, Gerald (2008), Gabriel García Márquez: A Life, London: Penguin, ISBN978-0-14-317182-9 .
• Maurya, Vibha (January 1983), "Gabriel García Márquez", Social Scientist, 11 (one): 53–58, doi:10.2307/3516870, ISSN 0970-0293, JSTOR 3516870 .
• McMurray, George R. (1987), Disquisitional Essays on Gabriel García Márquez, Boston: G.K. Hall & Co., ISBN978-0-8161-8834-5 .
• de la Mora, Sergio; Ripstein, Arturo (Summer 1999), "A Career in Perspective: An Interview with Arturo Ripstein", Picture show Quarterly, University of California Press, 52 (four): ii–xi, doi:10.1525/fq.1999.52.iv.04a00020, ISSN 0015-1386, JSTOR 1213770 .
• Mraz, John (August 1994), "Review of Cinema of Confinement: A Critical Study of Mexican Motion-picture show, 1972–1983, by Charles Ramirez Berg", Historical Journal of Pic, Radio and Goggle box, 14 (three), ISSN 0143-9685 .
• Oberhelman, Harley D. (1995), García Márquez and Cuba: A Report of its Presence in his Fiction, Journalism, and Cinema, Fredericton: York Press Ltd., ISBN978-0-919966-95-half-dozen .
• Pelayo, Ruben (2001), Gabriel García Márquez: A Critical Companion, Westport: Greenwood Press, ISBN978-0-313-31260-1 .
• Saldívar, Dasso (1997), García Márquez: El viaje a la semilla: la biografía, Madrid: Alfaguara, ISBN978-84-204-8250-seven .
• Sims, Robert (1994), "Review: Ascendant, Rest, and Emergent: Revent Criticism on Colombian Literature and Gabriel Garcia Marquez", Latin American Research Review, Latin American Studies Clan, 29 (two): 223–234, JSTOR 2503601 .
• Stavans, Ilan (1993), "Gabo in Refuse", Transition, Indiana University Printing, 62 (62): 58–78, doi:ten.2307/2935203, ISSN 0041-1191, JSTOR 2935203 .
• Williams, Raymond Fifty. (1984), Gabriel García Márquez, Boston: Twayne Publishers, ISBN978-0-8057-6597-7 .

Further reading [edit]

• Garcia, Rodrigo (2021). A Goodbye to Gabo and Mercedes: A Son'due south Memoir of Gabriel García Márquez and Mercedes Barcha. New York: HarperVia. ISBN9780063158337. OCLC 1243908337.
• Martin, Gerald (2008). Gabriel García Márquez: A Life. London: Bloomsbury. ISBN978-0747594765.

External links [edit]

brownlesshandow.blogspot.com

Source: https://en.wikipedia.org/wiki/Gabriel_Garc%C3%ADa_M%C3%A1rquez

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