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    Start Over Collection Gabriel Garcia Marquez (GGM) Publication Year 2005

    42. New World Romance and Authorship

    Collection:
    Gabriel Garcia Marquez (GGM)
    Contributers:
    Jerome Bradford Anderson
    Format:
    Secondary source, Dissertations and Theses on Gabriel García Márquez
    Publication Date:
    2005
    Published:
    New Haven, CT : Yale University
    Location:
    Library, University of Illinois
    Notes:
    "This dissertation argues that the recourse to romance in post-realist New World writing was accompanied by a re-conceptualization of the figure of the author. While it is true that American romance in its first incarnation exemplified the generic norms of romance, this dissertation focuses on a later generation of romancers, self consciously writing 'against' realism in an attempt to 'return' to romance. I dub this movement 'New World romance'; and hold that its primary innovation was to replace the traditional plot of romance of voyage, return and heterosexual union with a meta-textual plot that concerns the attempted but failed to return to the generic 'innocence' of traditional romance after the collapse of realism. In the process of writing back to romance, the writer sheds the figural trappings of the realist author and adopts a new identity. In 'the narrative of Arthur Gordon Pym of Nantucket' Edgar Allen Poe transforms realism from an epistemological project into a rhetorical ploy meant to dupe his readers. The author becomes a despotic figure, subjecting the reader to the tyranny of his fictions. Jorge Luis Borges explores the political consequences of such overweening authority in 'Tlon, Uqbar, Orbis, Tertius' and proposes instead a dialogical model of the writer: the author as translator. What happens when the real is no longer the exclusive property of an author, or even a government? Culture defines reality, and when cultures come into conflict, the 'Clash of civilizations' ensues. In 'El reino de este mundo' and 'Black Tambourine' Alejo Carpentier and Hart Crane manage 'the clash' by transcribing cultural conflict into musical form, thereby transforming the author into a jazzman. Finally, in 'Cien años de soledad' Gabriel García Márquez re-imagines the encounter between reader and text as the encounter between Echo and Narcissus. Arrogating upon himself the authority to condemn the reader to perpetual longing, García Márquez becomes a kind of deity, thereby adopting a role as author that reaches beyond realism, beyond romanticism to the very origins of literature in myth and romance."

    43. The Cambridge Companion to The Latin American Novel

    Collection:
    Gabriel Garcia Marquez (GGM)
    Contributers:
    Efraín Kristal
    Format:
    Secondary source, Chapters and Sections in Books
    Publication Date:
    2005
    Published:
    Cambridge, NY : Cambrige University Press
    Location:
    Library, University of Illinois
    Notes:
    This book makes references to Gabriel García Márquez on pages 3, 6, 7, 8, 9, 10, 13, 62, 63, 64, 65, 69, 74, 76, 85, 238, 270-275, 279-280, 305, 308, 310, 315. The the following novels are mentioned: "El amor en tiempos del cólera" ("Love in the Time of Cholera) 88. "Cien años de soledad" ("One Hundred Years of Solitude") 2, 5, 15, 59, 61, 62, 63, 74, 85, 86, 94, 239, 258-267, 291, 302, 306, 308, 310. "Crónica de una muerta anunciada" ("Chronicle of a Death Foretold") 88, 266. "El coronel no tiene quien le escribe" ("No One Writes to the Colonel)62. "Los funerales de la Mamá Grande" ("Big Mama's Funeral") 74. "La hojarasca" 265. "La mala hora" ("In Evil Hour") 62, 74. "El Otoño del patriarca" ("The Autumn of the Patriarch") 10, 62, 265.