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| − | {{Infobox Writer <!-- for more information see [[:Template:Infobox Writer/doc]] —>
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| − | | name = Gabriel García Márquez
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| − | | awards = {{awd|[[Nobel Prize in Literature]]|1982}} <!-- do not add nobel image see [[:Template:Infobox writer]] —>
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| − | | image = Gabriel Garcia Marquez 1984.jpg
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| − | | caption = García Márquez during a visit to [[Valledupar]], Colombia (c. 1984).
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| − | | birthdate = {{birth date and age|mf=yes|1927|3|6}}
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| − | | birthplace = [[Aracataca]], [[Magdalena Department|Magdalena]], [[Colombia]]
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| − | | nationality = [[Colombia]]
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| − | | deathdate =
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| − | | occupation = [[novel]]ist, short-story writer, and [[journalist]].
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| − | | signature = Gabriel Marquez Signature.png
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| − | '''Gabriel José de la Concordia García Márquez''' (born March 6, <!--DO NOT CHANGE DATE OF BIRTH, 1927 IS CORRECT HE BECAME 80 YEARS OLD IN OF 2007—>1927<ref name="BBC80">{{cite web|url=http://news.bbc.co.uk/1/hi/world/americas/6422579.stm|title= Gabriel García Márquez Turns 80|publisher=BBC News|month= March | year= 2007|accessdate=2008-03-30}}</ref>) is a [[Colombia]]n novelist, [[short-story]] writer, [[screenwriter]] and [[journalist]]. García Márquez, familiarly known as "Gabo" in his native country, is considered one of the most significant authors of the 20th century. In 1982, he was awarded the [[Nobel Prize in Literature]]. He pursued a self-directed education that resulted in his 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 and they have two sons.
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| − | He started as a journalist, and has written many acclaimed non-fiction works and short stories, but is best-known for his [[novel]]s, such as ''[[One Hundred Years of Solitude]]'' (1967) and ''[[Love in the Time of Cholera]]'' (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing the literary style known as [[magic realism]], which uses magical elements and events in order to explain real experiences. Some of his works are set in a fictional village called Macondo, and most of them express the theme of solitude.
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| − | The effect of magic realism, the interjection of magical events, not explainable by modern [[science]], is one which heightens the perspective of audiences by asking them to suspend disbelief and accept the possibility of the miraculous in the day to day tangible world. Such an affect is attractive to those who seek the underlying spiritual reality in the physical world, as well as to those for whom the natural world is nonetheless filled with mystery and potential of existence.
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| − | == Biography ==
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| − | === Early life ===
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| − | [[Image:Aracataca1.jpg|thumb|right|200px|Billboard of Gabriel García Márquez in [[Aracataca]]. It reads: "I feel Latin American from whatever country, but I have never renounced the nostalgia of my homeland: Aracataca, to which I returned one day and discovered that between reality and nostalgia was the raw material for my work".—Gabriel García Márquez]]
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| − | Gabriel García Márquez was born on March 6, 1927 in the town of [[Aracataca]], [[Colombia]], to Gabriel Eligio García and Luisa Santiaga Márquez.<ref>{{Harvnb|Saldívar|1997|p=86}}</ref><ref name=bell-villadaxix>{{Harvnb|Bell-Villada|2006|p=xix}}</ref> Soon after García Márquez was born, his father became a pharmacist. In January 1929, his parents moved to Baranquilla<ref name = "cthcjv">{{Harvnb|Saldívar|1997|p=87}}</ref><ref name="simons">{{Harvnb|Simons|1982}}</ref> while García Marquez stayed in Aracataca. He was raised by his maternal grandparents, Doña Tranquilina Iguarán and Colonel Nicolás Ricardo Márquez Mejía.<ref name = "cthcjv"/><ref>{{Harvnb|García Márquez|2003|p=11}}</ref> When he was eight, his grandfather died, and he moved to his parents' home in Barranquilla where his father owned a pharmacy.<ref name="AMGM12">{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=12}}</ref><ref>{{Harvnb|García Márquez|2003|p=123}}</ref>
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| − | When his parents fell in love their relationship met with resistance from Luisa Santiaga Marquez's father, the Colonel. Gabriel Eligio García was not the man the Colonel had envisioned winning the heart of his daughter: he was a [[Colombian Conservative Party|Conservative]], and had the reputation of being a womanizer.<ref name = "fcyrqq">{{Harvnb|Saldívar|1997|p=82}}</ref><ref name=GM45>{{Harvnb|García Márquez|2003|p=45}}</ref> Gabriel Eligio wooed Luisa with violin serenades, love poems, countless letters, and even telegraph messages after her father sent her away with the intention of separating the young 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.<ref name = "fcyrqq"/> Her family finally capitulated and gave her permission to marry him.<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|pp=11–12}}</ref><ref>{{Harvnb|Saldívar|1997|p=85}}</ref> (The tragicomic story of their courtship would later be adapted and recast as ''[[Love in the Time of Cholera]]''.<ref name=GM45/><ref>{{Harvnb|Saldívar|1997|p=83}}</ref>)
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| − | Since García Márquez's parents were more or less strangers to him for the first few years of his life,<ref name = "cthcjv"/> his grandparents influenced his early development very strongly.<ref name = "mooaza">{{Harvnb|Saldívar|1997|p=102}}</ref><ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p= 96}}</ref> His grandfather, who he called "Papalelo",<ref name = "mooaza"/> was a [[Colombian Liberal Party|Liberal]] veteran of the [[Thousand Days War]].<ref>{{Harvnb|Saldívar|1997|p=35}}</ref> The Colonel was considered a hero by Colombian Liberals and was highly respected.<ref>{{Harvnb|Saldívar|1997|p=103}}</ref> He was well-known for his refusal to remain silent about the [[banana massacre]]s that took place the year García Márquez was born.<ref>{{Harvnb|Saldívar|1997|p=105}}</ref> The Colonel, whom García Márquez has described as his "umbilical cord with history and reality,"<ref name="simons" /> was also an excellent storyteller.<ref>{{Harvnb|Saldívar|1997|p=106}}</ref> He taught García Márquez lessons from the dictionary, took him to the circus each year, and was the first to introduce his grandson to ice–a "miracle" found at the [[United Fruit Company]] store.<ref>{{Harvnb|Saldívar|1997|p=104}}</ref> He would also occasionally tell his young grandson "You can't imagine how much a dead man weighs,"<ref name = "lydaul">{{Harvnb|Saldívar|1997|p=107}}</ref><ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=13}}</ref> reminding him that there was no greater burden than to have killed a man, a lesson that García Márquez would later integrate into his novels.
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| − | García Márquez's political and ideological views were shaped by his grandfather's stories.<ref name = "lydaul"/> In an interview, García Márquez told his friend Plinio Apuleyo Mendoza, "my grandfather the Colonel was a Liberal. My political ideas probably came from him to begin with because, instead of telling me fairy tales when I was young, he would regale me with horrifying accounts of the last civil war that free-thinkers and anti-clerics waged against the Conservative government."<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1982|p=96}}</ref><ref>{{Harvnb|Saldívar|1997|p=98}}</ref> This influenced his political views and his literary technique so that "in the same way that his writing career initially took shape in conscious opposition to the Colombian literary status quo, García Márquez's [[socialism|socialist]] and anti-[[imperialism|imperialist]] views are in principled opposition to the global status quo dominated by the United States."<ref>{{Harvnb|Bell-Villada|1990|p=63}}</ref>
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| − | García Márquez's grandmother, Doña Tranquilina Iguarán Cotes, played an equally influential role in his upbringing. He was inspired by the way she "treated the extraordinary as something perfectly natural."<ref name="AMGM12"/> The house was filled with stories of ghosts and premonitions, omens and portents<ref>{{Harvnb|Saldívar|1997|p=96}}</ref>, all of which were studiously ignored by her husband.<ref name = "mooaza"/> According to García Márquez she was "the source of the magical, superstitious and supernatural view of reality."<ref name="simons" /> He enjoyed his grandmother's unique way of telling stories. No matter how fantastic or improbable her statements, she always delivered them as if they were the irrefutable truth. It was a deadpan style that, some thirty years later, heavily influenced her grandson's most popular novel, ''[[One Hundred Years of Solitude]]''.<ref>{{Harvnb|Saldívar|1997|pp=97–98}}</ref>
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| − | ===Education===
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| − | In 1940, García Márquez left his family who had moved a year earlier to [[Department of Sucre|
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| − | Sucre]] in order to begin his secondary school education at the Jesuit boarding school of San José in [[Barranquilla]].<ref>{{Harvnb|Saldívar|1997|p=136}}</ref><ref>{{Harvnb|Williams|1984|p=7}}</ref> At San José, he first published his words in the school magazine ''Juventud''.<ref>{{Harvnb|Saldívar|1997|p=138}}</ref> On a visit to his parents in Sucre, he met Mercedes Barcha at a student dance, and knew right away that he intended to marry her when they were finished with their studies.<ref>{{Harvnb|Saldívar|1997|p=370}}</ref>
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| − | In 1943, he was awarded a scholarship to attend the Liceo Nacional de Varones in [[Zipaquirá]], a city thirty miles north of [[Bogotá]].<ref name=bell-villadaxix/><ref>{{Harvnb|Saldívar|1997|p=153}}</ref> In an interview, García Márquez noted, "My literary background was basically in [[poetry]], but bad poetry ... I started out with the poetry that appeared in grammar books. I realized that what I most liked was poetry and what I most hated was Spanish class, grammar."<ref>{{Harvnb|Bell-Villada|2006|p=80}}</ref> During this period García Márquez also read a wide variety of European classics in addition to Spanish and Colombian literature.<ref name=bell-villadaxix/><ref name=bell-villada81>{{Harvnb|Bell-Villada|2006|p=81}}</ref>
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| − | {{bquote|If I had nothing to do and to avoid getting bored I'd hole up at the school library, where they had the Aldeana collection. I read the whole thing! ... From volume one to the last! I read ''El carnero'', memoirs, reminiscences ... I read it all! Of course, when I reached my last year in secondary school, I knew more than the teacher did.<ref name=bell-villada81/>}}
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| − | After graduation in 1947, he started law school at the [[National University of Colombia]] in Bogotá.<ref name=bell-villadaxix/><ref>{{Harvnb|Saldívar|1997|p=171}}</ref> While in Bogotá, García Márquez took up a program of self-directed reading. ''[[Metamorphosis]]'' by [[Franz Kafka]] was one work which particularly inspired him. He was excited by the idea that one could write acceptable literature in an untraditional style that was so similar to his grandmother's stories which "inserted bizarre events into an ordinary setting and related those anomalies as if they were just another aspect of everyday life."<ref>{{Harvnb|Bell-Villada|1990|p=71}}</ref> He was now more eager to be a writer than before.<ref>{{Harvnb|Saldívar|1997|pp=179–180}}</ref> Soon after, his first published story ''La tercera resignación'' appeared in the September 13, 1947 edition of the newspaper ''[[El Espectador]]''.<ref>{{Harvnb|Saldívar|1997|p=181}}</ref>
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| − | Although his passion was now writing, he continued in the law school in 1948 to please his father.<ref>{{Harvnb|Saldívar|1997|p=185}}</ref> During the Bogotá riots on April 9, 1948, the university closed indefinitely and his boarding house was burnt down <ref name=bell-villadaxix/>, so García Márquez transferred to the University of Cartagena.<ref name=bell-villadaxix/> By 1950, he gave up on the idea of becoming a lawyer to focus on journalism. He moved back to Barranquilla to write for the newspaper, ''[[El Heraldo de Barranquilla|El Heraldo]]''.<ref name="pelayo5">{{Harvnb|Pelayo|2001|p=5}}</ref> In his autobiography, he says: "I had left the university a year before with the rash hope that I could earn a living in journalism and literature without any need to learn them, inspired by a sentence I believe I had read in [[George Bernard Shaw]], 'From a very early age I've had to interrupt my education to go to school.'"<ref>{{Harvnb|García Márquez|2003|p= 8}}</ref> Although García Márquez never finished university, [[Columbia University]] in New York awarded him an honorary doctorate of letters in 1971.<ref>{{Harvnb|Pelayo|2001|p=10}}</ref>
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| − | ===Journalism===
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| − | García Márquez began his career as a journalist while studying law in university. In 1948 and 1949 he wrote for ''[[El Universal (Cartagena)|El Universal]]'' in [[Cartagena, Colombia|Cartagena]]. Later, from 1950 until 1952, he wrote a "whimsical" column under the name of "''Septimus''" for the local paper ''[[El Heraldo (Barranquilla)|El Heraldo]]'' in [[Barranquilla]].<ref>{{Harvnb|Bell|1993|p=6}}</ref> García Márquez 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."<ref>{{Harvnb|Bell-Villada|2006|p= 84}}</ref> During this time he became an active member of the informal group of writers and journalists known as the [[Barranquilla Group]], an association that provided great motivation and inspiration for his literary career. He worked with inspirational figures such as Ramon Vinyes, who García Márquez depicted as an Old Catalan who owns a bookstore in ''One Hundred Years of Solitude''.<ref>{{Harvnb|Pelayo|2001|p=5}}</ref> At this time, García Márquez was also introduced to the works of writers such as [[Virginia Woolf]] and [[William Faulkner]]. Faulkner's narrative techniques, historical themes and use of provincial locations influenced Latin American authors.<ref name="Bell7">{{Harvnb|Bell|1993|p= 7}}</ref> The environment of Barranquilla gave García Márquez a world-class literary education and provided him with a unique perspective on Caribbean culture. From 1954 to 1955, García Márquez spent time in Bogotá and regularly wrote for [[Bogotá]]'s ''[[El Espectador]]''. He was a regular film critic which drove his interest in film.
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| − | ====''The Story of a Shipwrecked Sailor''====
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| − | Ending in controversy, his last domestically-written editorial for ''El Espectador'' was a series of fourteen news articles<ref name="pelayo5"/><ref name="McMurray6">{{Harvnb|McMurray|1987|p=6}}</ref> in which he revealed the hidden story of how a Colombian Navy vessel's shipwreck "occurred because the boat contained a badly stowed cargo of contraband goods that broke loose on the deck."<ref name="McMurray7">{{Harvnb|McMurray|1987|p= 7}}</ref>
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| − | García Márquez compiled this story through interviews with a young sailor who survived the shipwreck.<ref name="McMurray6"/> The publication of 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.
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| − | In response to this controversy ''El Espectador'' sent García Márquez away to Europe to be a foreign correspondent.<ref>{{Harvnb|Pelayo|2001|p=6}}</ref> He wrote about his experiences for ''[[El Independiente]]'' which was later shut down by Colombian authorities.<ref name="Bell7"/> García Márquez's background in journalism provided a foundational base for his writing career. Literary critic Bell-Villada noted, "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."<ref>{{Harvnb|Bell-Villada|1990|p=62}}</ref>
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| − | === Marriage and family ===
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| − | Since García Márquez had met Mercedes Barcha, they had been waiting to finish school in order to get married. When he was sent to Europe as a foreign correspondent, Mercedes waited for him to return to Barranquilla. They were finally wed in 1958.<ref name="saldívar372">{{Harvnb|Saldívar|1997|p=372}}</ref><ref name="pelayo7">{{Harvnb|Pelayo|2001|p=7}}</ref> The following year, their first son, [[Rodrigo García]], who became a television and film director, was born.<ref name="pelayo7"/> In 1961, the family traveled by [[Greyhound Lines|Greyhound]] bus throughout the southern [[United States]] and eventually settled in [[Mexico City]].<ref>{{Harvnb|Bell-Villada|2006|pp=xx–xxi}}</ref> García Márquez had wanted to see the Southern United States because it had inspired the writings of [[William Faulkner]].<ref name="pelayo8">.{{Harvnb|Pelayo|2001|p=8}}</ref> Three years later the couple's second son, Gonzalo, was born in Mexico.<ref name=bell-villadaxxi>{{Harvnb|Bell-Villada|2006|p=xxi}}</ref> Gonzalo became a graphic designer in Mexico City.<ref name="pelayo8"/>
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| − | === ''Leaf Storm'' ===
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| − | {{main|Leaf Storm}}
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| − | ''Leaf Storm'' ''(La Hojarasca)'', García Márquez's first novella, was published in 1955 after taking seven years to find a publisher.<ref>http://us.penguingroup.com/static/rguides/us/of_love_and_other_demons.html</ref> 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."<ref>{{Harvnb|Pelayo|2001|p=28}}</ref> All the events of the novel take place in one room, during a half-hour period on Wednesday September 12, 1928. It is the story of an old colonel (similar to García Márquez's own grandfather) who tries to give a proper Christian burial to an unpopular French doctor. The colonel is supported only by his daughter and grandson. The novel explores the child's first experience with death using a [[stream of consciousness]] technique. The book also uses the perspective of Isabel, the Colonel's daughter, to provide a feminine point of view as well.<ref name="pelayo5"/>
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| − | === ''One Hundred Years of Solitude'' ===
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| − | {{main|One Hundred Years of Solitude}}
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| − | Since García Márquez was eighteen, he had wanted to write a novel based on his grandparents' house where he grew up. However, he struggled with finding an appropriate tone and put off the idea until one day the answer hit him while driving his family to [[Acapulco]]. He turned the car around and the family returned home so he could begin writing. He sold his car so his family would have money to live on while he wrote, but writing the novel took far longer than he expected; he wrote every day for eighteen months. His wife had to ask for food on credit from their butcher and their baker as well as nine months of rent on credit from their landlord.<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=74-75}}</ref> Fortunately, when the book was finally published in 1967 it became his most commercially successful novel, ''One Hundred Years of Solitude'' ''(Cien años de soledad)'' (1967; English [[translation]] by [[Gregory Rabassa]] 1970). The story chronicles several generations of the Buendía family from the time they found the fictional South American village [[Macondo]] through their trials and tribulations. The history of Macondo is often generalized by critics to represent rural towns throughout [[Latin America]] or at least near García Márquez's native [[Aracataca]].<ref>{{Harvnb|Pelayo|García Márquez|2001|p=97}}</ref><ref name = "xqsoal">{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=72}}</ref>
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| − | This novel was widely popular and led to García Márquez's Nobel Prize as well as the [[Rómulo Gallegos Prize]] in 1972. [[William J. Kennedy|William Kennedy]] has called it "the first piece of literature since the [[Book of Genesis]] that should be required reading for the entire human race,"<ref>{{cite web|url=http://www.harpercollins.com/books/9780060883287/One_Hundred_Years_of_Solitude/index.aspx|title= One Hundred Years of Solitude|author=García Márquez|accessdate=}}</ref> and hundreds of articles and books of literary critique have been published in response to it. However, García Márquez himself does not completely understand the success of this particular book: "Most critics don't realize that a novel like ''One Hundred Years of Solitude'' is a bit of a joke, full of signals to close friends; and so, with some pre-ordained right to pontificate they take on the responsibility of decoding the book and risk making terrible fools of themselves."<ref name = "xqsoal"/>
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| − | === Fame ===
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| − | [[Image:Gabogarciamarquez1.png|thumb|right130px|García Márquez signing a copy of ''[[One Hundred Years of Solitude]]'' in [[Havana]], [[Cuba]].]]
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| − | After ''One Hundred Years of Solitude'' García Márquez returned to Europe, this time bringing along his family, to live in [[Barcelona]], Spain for seven years.<ref name=bell-villadaxxi/> The international recognition García Márquez earned with the publication of the novel led to his ability to act as a [[facilitator]] in several negotiations between the Colombian government and the guerrillas, including the former [[19th of April Movement]] and the current [[FARC]] and [[National Liberation Army (Colombia)|ELN]] organizations.<ref>{{es icon}} {{cite web|author=Vargas, Alejo| url=http://www.elcolombiano.com.co/BancoConocimiento/G/gabriel_garcia_marquez_y_la_paz_colombiana/gabriel_garcia_marquez_y_la_paz_colombiana.asp?CodSeccion=46|title=Gabriel García Márquez y la paz colombiana.|publisher=ElColombiano.com|accessdate=2008-02-05}}</ref><ref>{{es icon}} {{cite web|url=http://news.bbc.co.uk/hi/spanish/latin_america/newsid_6444000/6444281.stm|title=García Márquez media por la paz|publisher=BBC Mundo|date=2007-03-13|accessdate=2008-02-05}}</ref> 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.''<ref>{{Harvnb|Esteban|Panichelli|2004}}</ref> In an interview with Claudia Dreifus in 1982 García Márquez notes his relationship with Castro is mostly based on literature: “Ours is an intellectual friendship. It may not be widely known that Fidel is a very cultured man. When we’re together, we talk a great deal about literature.”<ref>{{Harvnb|Bell-Villada|2006|p=100}}</ref>
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| − | Also due to his newfound fame and his outspoken views on U.S. [[imperialism]] he was labeled as a subversive and for many years was denied visas by U.S. immigration authorities.<ref>{{Harvnb|Bell-Villada|1990|p=67}}</ref> However, after [[Bill Clinton]] was elected U.S. president, he finally lifted the travel ban and claimed that García Márquez's ''[[One Hundred Years of Solitude]]'' was his favorite novel.<ref name=bell-villadaxxii/>
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| − | === ''Autumn of the Patriarch'' ===
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| − | García Márquez was inspired to write a [[dictator novel]] when he witnessed the flight of Venezuelan dictator [[Marcos Pérez Jiménez]]. According to Marquez, "it was the first time we had seen a dictator fall in Latin America."<ref>{{Harvnb|Apuleyo Mendoza|19842|p=81}}</ref> García Márquez began writing ''Autumn of the Patriarch'' ''(El otoño del patriarca)'' in 1968 and said it was finished in 1971; however, he continued to embellish the dictator novel until 1975 when it was published in Spain.<ref>{{Harvnb|Kennedy|1976}}</ref> According to García Márquez, the novel is a "poem on the solitude of power,"<ref>{{cite web|url=http://www.bookrags.com/wiki/The_Autumn_of_the_Patriarch|author=García Márquez|title=Autumn of the Patriarch|accessdate=}}</ref> following 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.<ref name=williams112>{{Harvnb|Williams|1984|p= 112}}</ref> Although the exact location of the story is not pin-pointed in the novel, the imaginary country is situated somewhere in the Caribbean.<ref name=Williams111>{{Harvnb|Williams|1984|p=111}}</ref>
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| − | García Márquez gave his own explanation of the plot:<blockquote>
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| − | My intention was always to make a synthesis of all the Latin American dictators, but especially those from the Caribbean. Nevertheless, the personality of Juan Vicente Gomez [of Venezuela] was so strong, in addition to the fact that he exercised a special fascination over me, that undoubtedly the Patriarch has much more of him than anyone else.<ref name=Williams111/>
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| − | </blockquote>
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| − | === Pledge ===
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| − | After ''Autumn of the Patriarch'' was published the Garcia Marquez family moved from Barcelona to [[Mexico City]].<ref name=bell-villadaxxi/> and García Márquez pledged not to publish again until the Chilean Dictator [[Augusto Pinochet]] was deposed. However, 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."<ref name="Maurya58">{{Harvnb|Maurya|1983|p=58}}</ref>
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| − | === ''Love in the Time of Cholera'' ===
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| − | {{main|Love in the Time of Cholera}}
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| − | ''Love in the Time of Cholera'' ''(El amor en los tiempos del cólera)'' was first published in 1985. It is a nontraditional love story as "lovers find love in their 'golden years'–in their seventies, when death is all around them".<ref>{{Harvnb|Pelayo|2001|p=11}}</ref>
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| − | ''Love in the Time of Cholera'' is based on the stories of two couples. The young love of Fermina Daza and Florentino Ariza is based on the love affair of García Márquez's parents.<ref name=bell-villada156>{{Harvnb|Bell-Villada|2006|p=156}}</ref> However, as García Márquez explains in an interview: “The only difference is [my parents] married. And as soon as they were married, they were no longer interesting as literary figures.”<ref name=bell-villada156/> The love of old people is based on a newspaper story about the death of two Americans, who were almost 80 years old, who met every year in Acapulco. They were out in a boat one day and were murdered by the boatman with his oars. García Márquez notes, “Through their death, the story of their secret romance became known. I was fascinated by them. They were each married to other people.”<ref>{{Harvnb|Bell-Villada|2006|p=157}}</ref>
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| − | === Illness ===
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| − | In 1999, García Márquez was diagnosed with [[lymphatic cancer]].<ref name=bell-villadaxxii>{{Harvnb|Bell-Villada|2006| p= xxii}}</ref> [[Chemotherapy]] provided by a hospital in Los Angeles proved to be successful, and the illness went into remission.<ref name=bell-villadaxxii/><ref name="Forero">{{Harvnb|Forero|2002}}</ref> This event 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 current and future plans," he told ''[[El Tiempo]]'', the Colombian newspaper, "...and locked myself in to write every day without interruption."<ref name="Forero"/> In 2002, three years later, he published ''[[Living to Tell the Tale]]'' ''(Vivir para Contarla)'', the first volume in a trilogy of memoirs.<ref name="Forero"/>
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| − |
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| − | In 2000, his impending death was incorrectly reported by Peruvian daily newspaper ''[[La República]]''. The next day other newspapers republished his alleged farewell poem, "La Marioneta" but shortly afterwards García Márquez denied being the author of the poem, which was determined to be the work of a Mexican ventriloquist.<ref>{{cite web|url=http://www.elsalvador.com/noticias/EDICIONESANTERIORES/2000/JUNIO/junio2/ESCENARIOS/escen3.html|title=García Márquez: "Lo que me mata es que crean que escribo así"|publisher=Elsalvador.com|accessdate=2008-03-26}}</ref><ref>{{es icon}} {{cite web|url=http://www.museumofhoaxes.com/marquez.html|title=García Márquez Farewell Letter|publisher=Museum of Hoaxes|accessdate=2008-03-26}}</ref>
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| − |
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| − | === Recent works ===
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| − |
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| − | In 2002, García Márquez published the memoir ''Vivir para contarla'', the first of a projected three-volume autobiography. [[Edith Grossman]]'s English translation, ''[[Living to Tell the Tale]]'', was published in November 2003.<ref>{{Harvnb|García Márquez|2003}}</ref> As of March 2008 his most recent novel is ''[[Memories of My Melancholy Whores]]'' ''(Memoria de mis putas tristes)'', a love story that follows the romance of a 90-year old man and a pubescent concubine, that was published in October 2004. This book caused controversy in Iran, where it was banned after the initial 5,000 copies were printed and sold.<ref>{{cite web|author=Sarkouhi, Faraj|title=Iran: Book Censorship The Rule, Not The Exception|publisher= Payvands' Iran News|date=2007-11-26|accessdate=2008-03-29|url= http://www.payvand.com/news/07/nov/1244.html}}</ref><ref>{{cite web|author=Ron, Jesus| title=Mayhem in Paris, author banned from Iran, Chavez at odds w/ Colombia & Spain|publisher= Rutgers Observer|date=2007-12-04|accessdate=2008-03-29| url= 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}}
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| − | </ref>
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| − |
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| − | In May 2008, despite the fact that García Márquez had earlier declared that he "had finished with writing," it was announced that the author was now finishing a new novel, "a novel of love" that had yet to be given a title, to be published by the end of the year.<ref>{{cite web|author=Keeley, Graham| title= Magic triumphs over realism for García Márquez |publisher=The Guardian |date=2008=05-08 |accessdate=2008-05-11 |url= http://books.guardian.co.uk/news/articles/0,,2278421,00.html}}</ref>
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| − |
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| − | ===Film===
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| − |
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| − | Critics often describe the language that García Márquez's imagination produces as visual or graphic,<ref name="Stavans65">{{Harvnb|Stavans|1993|p= 65}}</ref> and he confides that each of his stories is inspired by "a visual image,"<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=26}}</ref>. For this reason he has had a longstanding involvement with film. He is a film critic. He founded and served as executive director of the Film Institute in Havana,<ref name="Stavans65"/> was the Head of the Latin American Film Foundation, and has written several screenplays.<ref name="Bell7"/> For his first script he worked with [[Carlos Fuentes]] on Juan Rulfo's ''El gallo de oro''.<ref name="Stavans65"/> His other screenplays include the films ''Tiempo de Morir'' (1966) and ''Un senor muy viejo con unas alas enormes'' (1988), as well as the television series ''Amores Difíciles'' (1991).<ref name="Stavans65"/><ref>{{Harvnb|Gonzalez|1994|p=43}}</ref>
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| − |
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| − | García Márquez also originally wrote his ''Eréndira'' as a screenplay. However, 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 Mexico in 1983.<ref>{{cite web|author=Aufderheide, Patricia|title=Cross-cultural film guide|publisher=American University Library|url=http://www.library.american.edu/subject/media/aufderheide/erendira.html}}</ref>
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| − |
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| − | Several of his stories have inspired other writers and directors. In 1987, the Italian director [[Francesco Rosi]] directed the movie ''[[Chronicle of a Death Foretold (film)|Cronaca di una morte annunciata]]'' based on ''Chronicle of a Death Foretold''.<ref>{{Harvnb|Gonzales|1994|p=33}}</ref> Several film adaptations have been made in Mexico, including Jaime Humberto Hermosillo's ''Maria de mi corazón'' (1979),<ref>{{Harvnb|Mraz|1994}}</ref> and Arturo Ripstein's ''El coronel no tiene quien le escriba'' (1998).<ref>{{Harvnb|de la Mora|Ripstein|1999|p=5}}</ref>
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| − |
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| − | British director [[Mike Newell (director)|Mike Newell]] ''([[Four Weddings and a Funeral]])'' filmed ''[[Love in the Time of Cholera (film)|Love in the Time of Cholera]]'' in [[Cartagena, Colombia|Cartagena]], Colombia, with the screenplay written by Ronald Harwood ''([[The Pianist (2002 film)|The Pianist]])''. The film was released in the U.S. on November 16, 2007.<ref>{{Harvnb|Douglas|2007}}</ref>
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| − |
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| − | == Style ==
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| − | While there are certain aspects readers can almost always expect in García Márquez's writing, like instances of humor, he does not stick to any clear and predetermined style template. In an interview with Marlise Simons, García Márquez noted:<blockquote>In every book I try to make a different path [...]. One doesn't choose the style. You can investigate and try to discover what the best style would be for a theme. But the style is determined by the subject, by the mood of the times. If you try to use something that is not suitable, it just won't work. Then the critics build theories around that and they see things I hadn't seen. I only respond to our way of life, the life of the Caribbean.<ref>{{citation|last= Simons |first= Marlise |title= Gabriel Márquez on Love, Plagues and Politics |periodical= The New York Times |date= February 21, 1988 |url= http://query.nytimes.com/gst/fullpage.html?res=940DEFD61E30F932A15751C0A96E948260 |accessdate= 2008-07-30 }}</ref></blockquote>
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| − |
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| − | García Márquez is also noted for leaving out seemingly important details and events so the reader is forced into a more participatory role in the story development. For example, in ''No one writes to the colonel'' the main characters are not given names. This practice is influenced by Greek tragedies, such as ''[[Antigone (Sophocles)|Antigone]]'' and ''[[Oedipus Rex]]'', in which important events occur off-stage and are left to the audience's imagination.<ref>{{Harvnb|Bell-Villada|1990|p= 75}}</ref>
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| − |
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| − | === Realism and Magical Realism ===
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| − | García Márquez has said of his early works (with the exception of ''Leaf Storm''), "''Nobody Writes to the Colonel'', ''In Evil Hour'', and ''Big Mama's Funeral'' all reflect the reality of life in Colombia and this theme determines the rational structure of the books. I don't regret having written them, but they belong to a kind of premeditated literature that offers too static and exclusive a vision of reality."<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=56}}</ref>
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| − |
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| − | In his other works he has experimented more with less traditional approaches to reality, so that "the most frightful, the most unusual things are told with the deadpan expression"<ref>{{Harvnb|McMurray|1987|p=18}}</ref>. 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 ''[[One Hundred Years of Solitude]].'' The style of these works fits in the "marvelous realm" described by the Cuban writer [[Alejo Carpentier]] and has been labeled as [[magical realism]].<ref>{{Harvnb|Maurya|1983|p=57}}</ref>
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| − |
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| − | Literary critic Michael Bell proposes an alternative understanding for García Márquez's style, as the category magic realism is criticized for being dichotimizing and exoticizing. Bell writes "what is really at stake is a psychological suppleness which is able to inhabit unsentimentally the daytime world while remaining open to the promptings of those domains which modern culture has, by its own inner logic, necessarily marginalized or repressed."<ref>{{Harvnb|Bell|1993|p=49}}</ref> García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a similar way, "'The way you treat reality in your books... has been called magical realism. I have the feeling your European readers are usually aware of the magic of your stories but fail to see 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.'"<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=35}}</ref>
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| − |
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| − | ==Themes==
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| − | === Solitude ===
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| − | 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 human kind...portrayed through the solitude of love and of being in love".<ref>{{Harvnb|Pelayo|2001|p=136}}</ref>
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| − |
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| − | 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."<ref>{{Harvnb|Apuleyo Mendoza|García Márquez|1983|p=54}}</ref>
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| − |
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| − | In his Nobel Prize acceptance speech, [http://nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture-e.html "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."<ref>{{Harvnb|García Márquez|1982}}</ref>
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| − |
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| − | ===Macondo===
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| − | 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 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."<ref>{{Harvnb|Apuleyo Mendoza|1982|p=77}}</ref> 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."<ref>{{Harvnb|Bell|1993|p=70}}</ref> "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 tourdepictsist agents..." makes it "...hard to believe it is a sheer fabrication."<ref>{{Harvnb|Stevans|1993|p= 58}}</ref> 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.<ref>{{Harvnb|McMurray|1987|p=15}}</ref> 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.<ref>{{Harvnb|McMurray|1987|p= 17}}</ref>
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| − |
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| − | 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:<blockquote>
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| − |
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| − | The train stopped at a station that had no town, and a short while later it passed the only banana plantation along the route that had its name written over the gate: ''Macondo''. This word had attracted my attention ever since the first trips I had made with my grandfather, but i discovered only as an adult that I liked its poetic resonance. I never heard anyone say it and did not even ask myself what it meant...I happened to read in an encyclopedia that it is a tropical tree resembling the Ceiba.<ref>{{Harvnb|García Márquez|2003|p= 19}}</ref>
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| − | </blockquote>
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| − |
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| − | === La Violencia ===
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| − |
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| − | In several of García Márquez's works, including ''No one Writes to the Colonel'', ''Evil Hour'', and ''Leaf Storm'' he references ''la violencia'' (the violence), "a brutal civil war between conservatives and liberals that lasted into the 1960s, causing the deaths of several hundred thousand Colombians."<ref name=pelayo43>{{Harvnb|Pelayo|2001|p=43}}</ref><ref name="McMurray6"/> Throughout all of his novels there are subtle references to ''la violencia,'' for example, characters living under various unjust situations like curfew, press censorship, and underground newspapers.<ref name="McMurray16">{{Harvnb|McMurray|1987|p=16}}</ref> ''Evil Hour'', while not one of García Márquez's most famous novels is notable for its portrayal of ''la violencia'' with its "fragmented portrayal of social disintegration provoked by ''la violencia''."<ref>{{Harvnb|McMurray|1987|p=25}}</ref> Although García Márquez does portray the corrupt nature and the injustices of times like ''la violencia'', he refuses to use his work as a platform for political propaganda. "For him, duty of the revolutionary writer is to write well, and the ideal novel is one 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."<ref name="McMurray16"/>
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| − |
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| − | == Legacy ==
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| − | García Márquez is an important part of the [[Latin American Boom]] of literature.<ref>{{Harvnb|Bacon|2001|p= 833}}</ref> His work has challenged critics of Colombian literature to step 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,<blockquote>
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| − |
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| − | "García Márquez continues to cast a lengthy shadow in Colombia, Latin America, and the United States. Critical works on the 1982 Nobel laureate have reached industrial proportion and show 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 certain attraction-repulsion among critics and writers while readers continue to devour new publications. No one can deny that García Márquez has helped rejuvenate, reformulate, and recontextualize literature and criticism in Colombia and the rest of Latin America."<ref>{{Harvnb|Sims|1994|p=224}}</ref> </blockquote>
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| − |
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| − | === Nobel Prize ===
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| − | In 1982, García Márquez received the [[Nobel Prize in Literature]] "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts".<ref>{{cite web|url=http://nobelprize.org/nobel_prizes/literature/laureates/1982|title=Nobel Prize in Literature for 1982|accessdate=}}</ref><ref>{{cite web|url=http://nobelprize.org/literature/laureates/1982|title=Nobelprize.org|accessdate=}}</ref> His acceptance speech was entitled [http://nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture-e.html "Solitude of Latin America"].<ref>{{Harvnb|García Márquez|1982}}, see {{Harvnb|Pelayo|2001|p=11}}</ref> García Márquez was the first Colombian and fourth Latin American to win a Nobel Prize for Literature.<ref>{{Harvnb|Maurya|1983|p=53}}</ref> After becoming a Nobel laureate, García Márquez told a correspondent: "I have the impression that in giving me the prize they have taken into account the literature of the sub-continent and have awarded me as a way of awarding all of this literature."<ref name="Maurya58"/>
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| − |
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| − | ==List of works==
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| − | ===Novels===
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| − | * ''[[One Hundred Years of Solitude]]'' 1967
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| − | * ''[[The Autumn of the Patriarch]]'' 1975
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| − | * ''[[Chronicle of a Death Foretold]]'' 1981
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| − | * ''[[Love in the Time of Cholera]]'' 1985
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| − | * ''[[The General in His Labyrinth]]'' 1989
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| − | * ''[[Of Love and Other Demons]]'' 1994
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| − | * ''[[Memories of My Melancholy Whores]]'' 2004
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| − |
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| − | ===Novellas===
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| − | * ''[[Leaf Storm]]'' 1955
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| − | * ''[[No One Writes to the Colonel]]'' published 1961 in Spanish (written in 1956-1957)
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| − | * ''[[In Evil Hour]]'' 1962
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| − |
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| − | ===Short Story Collections===
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| − | * ''[[Innocent Eréndira, and other stories]]'' 1978
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| − | * ''[[Strange Pilgrims]]'' 1993
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| − |
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| − | ===Non Fiction===
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| − | * ''[[The Novel in Latin America: Dialogue]]'' 1968, with Mario Vargas Llosa
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| − | * ''[[The Story of a Shipwrecked Sailor]]'' 1970
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| − | * ''[[When I Was Happy and Undocumented]]'' 1972
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| − | * ''[[The solitude of Latin America]]'' 1982
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| − | * ''[[The Abduction]]'' 1983
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| − | * ''[[The Fragrance of Guava]]'' 1982, with Plinio Apuleyo Mendoza
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| − | * ''[[Clandestine in Chile: The Adventures of Miguel Littin|Clandestine in Chile]]'' 1986
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| − | * ''[[News of a Kidnapping]]'' 1996
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| − | * ''[[A Country for Children]]'' 1998
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| − | * ''[[Living to Tell the Tale]]'' 2002
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| − |
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| − | == See also ==
| |
| − | * [[McOndo]]
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| − |
| |
| − | == Notes ==
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| − | All links Retrieved October 20, 2008.
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| − | {{reflist|3}}
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| − |
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| − | ==References==
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| − | <!-- please copy/paste the following templates for use in this section:
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| − | Book citation template:
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| − | *{{citation|last=|first=|last2=|first2=|authorlink=|title=|location=|publisher=|year=|isbn=}}
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| − | Journal citation template:
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| − | *{{citation| last =| first =|last2=|first2=| authorlink =| title =| journal =| volume =| issue =| date =| year =| month =| pages =| publisher =| location =| url =| accessdate = }}
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| − | —>
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| − | * {{citation|last1=Apuleyo Mendoza|first1= Plinio|first2=Gabriel|last2= García Márquez|title=The Fragrance of Guava|place=London|publisher= Verso|year= 1983|isbn= 0860919652}}.
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| − | *{{citation| last =Bacon| first =Susan|last2=|first2=| authorlink =| title= Review of Conversations with Latin American Writers: Gabriel Garcia Marquez| journal =Hispania| volume =84| issue =4| date =| year =2001| month =December| pages =833| publisher =| location =| url =| accessdate = April 2, 2008. }} ISSN 0018-2133
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| − | * {{citation|last=Bell|first= Michael|title=Gabriel García Márquez: Solitude and Solidarity|place= Hampshire|publisher= Macmillan|year= 1993|isbn= 0333537653}}.
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| − | * {{citation|last=Bell-Villada|first= Gene H.|title=García Márquez: The Man and His Work|place=North Carolina|publisher=University of North Carolina Press|year= 1990|isbn= 0807818755}}.
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| − | * {{citation|editor-last=Bell-Villada|editor-first= Gene H.|title=Conversations with Gabriel García Márquez|place=Jackson|publisher=University Press of Mississippi|year= 2006|isbn= 1578067847}}.
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| − | * {{citation|editor-last=Bhalla|editor-first= Alok|title=García Márquez and Latin America|place= New Delhi|publisher= Sterling Publishers Private Limited|year=1987|isbn= 9780938719083}}.
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| − | * {{citation|editor-last=Bloom|editor-first= Harold|title=Gabriel García Márquez|place= New York|publisher= Chelsea House|year= 2007|isbn= 0791093123}}.
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| − | * {{citation|last=Cebrian|first= Juan Luis|title=Retrato de Gabriel García Márquez|place= Gutenberg|publisher=Círculo de Lectores|year=1997|isbn=8422655721}}.
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| − | * {{citation|last=Douglas|first=Edward|title=Mike Newell on Love in the Time of Cholera|url=http://www.comingsoon.net/news/movienews.php?id=39181| accessdate=2008-08-18|format=|work= }}.
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| − | * {{citation|last1=Esteban|first1= Angel|first2=Stephanie|last2=Panichelli|title=Gabo Y Fidel: el paisaje de una amistad|publisher=Planeta Publishing|year=2004|place=|isbn= 9788467012637}}.
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| − | * {{citation|last=Forero|first= Juan|url=http://query.nytimes.com/gst/fullpage.html?res=9507EEDC113BF93AA35753C1A9649C8B63|title=A Storyteller Tells His Own Story; García Márquez, Fighting Cancer, Issues Memoirs|newspaper=New York Times|year=2002|date=October 9, 2002|accessdate=2008-08-18}}.
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| − | *{{citation|last=García Márquez| first=Gabriel| editor-last=Frangsmyr| editor-first=Tore| editor-last2=Allen| editor-first2=Sture| authorlink=|chapter=Nobel lecture|title=Nobel Lectures, Literature 1981–1990|location=Singapore|publisher=World Scientific Publishing Co.|year=1982|publication-date=1993|isbn=|chapterurl=http://nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-lecture-e.html}}. Retrieved October 18, 2008.
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| − | * {{citation|last=García Márquez|first=Gabriel|title= [[No One Writes to the Colonel]]|publisher=Harper & Row| edition=1st|year=1968|isbn=0060114177}}.
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| − | * {{citation|last=García Márquez|first=Gabriel|title= Living to tell the tale|location= New York|publisher= Alfred A. Knopf|year= 2003|isbn=1-4000-4134-1}}.
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| − | * {{citation|last=Gonzales|first=Nelly|authorlink=|title= Bibliographic Guide to Gabriel García Márquez, 1986–1992|url=|accessdate=|location=Oxford|publisher= Greenwood Publishing Group|year=1994|isbn=0313288321}}.
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| − | *{{citation| last =Jehensen| first =Yvonne|last2=McNerney|first2=Kathleen| authorlink =| title =Understanding Gabriel García Márquez| journal =Hispania| volume =73| issue =2| date =| year =1990| month =May| pages =433–434| publisher =| location =| }}ISSN 0018-2133
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| − | * {{citation|last=Kennedy|first=William|title=A Stunning Portrait of a Monstrous Caribbean Tyrant|url=http://www.nytimes.com/books/97/06/15/reviews/marque-autumn.html|newspaper=New York Times|year=1976|date=October 31, 1976|accessdate=2008-08-18}}.
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| − | *{{citation| last =Maurya| first =Vibha|last2=|first2=| authorlink =| title =Gabriel García Márquez| journal =Social Scientist| volume =11| issue =1| date =| year =1983| month =January| pages =53–58| publisher =| location =| }}ISSN 0970-0293
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| − | * {{citation|last=McMurray|first= George R.|title= Critical Essays on Gabriel García Márquez|place= Boston|publisher=G.K. Hall & Co.|year= 1987|isbn=0816188343}}.
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| − | * {{citation| last1 = de la Mora| first1 = Sergio| authorlink =| first2 = Arturo|last2= Ripstein| title = A Career in Perspective: An Interview with Arturo Ripstein| journal = Film Quarterly| volume = 52| issue = 4| date = Summer 1999| year = 1999| month =| pages = 2–11| publisher = University of California Press| location =|}}.ISSN 0015-1386
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| − | * {{citation|last=Mraz| first=John|title=Review of ''Cinema of Solitude: A Critical Study of Mexican Film, 1972–1983'', by Charles Ramirez Berg|journal=Historical Journal of Film, Radio and Television| date= August, 1994| year= 1994| volume=14|issue = 3| accessdate=2008-08-18|url=http://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=9411104759&site=ehost-live| }}.ISSN 0143-9685
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| − | * {{citation|last=Oberhelman|first=Harley D.|title= García Márquez and Cuba: A Study of its Presence in his Fiction, Journalism, and Cinema|place= Fredericton|publisher= York Press Ltd.|year=1995|isbn= 0919966950}}.
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| − | * {{citation|last=Pelayo|first=Ruben|authorlink=|title=Gabriel García Márquez: A Political Companion|place= Westport|publisher=Greenwood Press|year=2001|isbn=0313312605}}.
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| − | *{{citation|last=Saldívar|first=Dasso|last2=|first2=|authorlink=|title=García Márquez: El viaje a la semilla: la biografía |location=Madrid|publisher=Alfaguara|year=1997|isbn=8420482501}}
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| − | *{{citation|last=Simons|first=Marlise|title=A Talk With Gabriel García Márquez|url=http://www.nytimes.com/books/97/06/15/reviews/marquez-talk.html|newspaper=New York Times|year=1982|date=December 5, 1982|accessdate=2008-08-18}}.
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| − | *{{citation| last =Sims| first =Robert|last2=|first2=| authorlink =| title ="Review: Dominant, Residual, and Emergent: Revent Criticism on Colombian Literature and gabriel Garcia Marquez"| journal =Latin American Research Review| volume =29| issue =2| date =| year =1994| month =| pages =223–234| publisher =Latin American Studies Association| location =| }}ISSN 0023-8791
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| − | * {{citation|last=Stavans|first=Ilan|authorlink =|title=Gabo in Decline|journal=Transition|volume=62|issue=|year=1993|month=|pages=58–78|publisher=Indiana University Press|location=|}}.ISSN 1211-0205
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| − | * {{citation|last=Williams|first= Raymond L.|title= Gabriel García Márquez|place= Boston|publisher=Twayne Publishers|year= 1984|isbn= 0805765972}}.
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| − | * {{citation|last=Perales Contreras|first1=Jaime|first2=Mario|last2=Vargas Llosa|title=Review on Historia de un deicidio|place=Washington D.C|publisher=Organization of American States|year=2007}}
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| − | ==External links==
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| − | * [http://nobelprize.org/nobel_prizes/literature/laureates/1982/marquez-bio.html Nobel Prize: Gabriel García Márquez] Retrieved October 18, 2008.
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| − | {{Gabriel García Márquez}}
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| − | {{Nobel Prize in Literature Laureates 1976-2000}}
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| − | {{Persondata
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| − | |NAME=García Márquez, Gabriel
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| − | |ALTERNATIVE NAMES= García Márquez, Gabriel José
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| − | |SHORT DESCRIPTION= Colombian novelist, [[journalist]], publisher, political activist, and short story writer.
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| − | |DATE OF BIRTH= {{Birth date and age|mf=yes|1927|3|6|mf=y}}
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| − | |PLACE OF BIRTH= [[Aracataca]], [[Magdalena Department]], [[Colombia]]
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| − | |DATE OF DEATH=
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| − | |PLACE OF DEATH=
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| − | }}
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| − | [[Category:Biography]]
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| − | [[Category:Writers and poets]]
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| − | [[Category:Art, music, literature, sports and leisure]]
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| − | {{Credits|Gabriel_Garcia_Marquez|240658816}}
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