García Marruz briefly discusses each of Gabriel García Márquez's important writings by intertwining them into one big story. She proceeds to compare García Márquez to Cervantes and other writers.
"First there will be a brief technical outline of the relationship between fiction and history, for which I owe a good part of my reflection to the work of Paul Ricoeur, as well as to authors such as Hayden White, Le Goff, Roger Chartier, Frederick Jameson, Beatriz Sarlo, Roberto Schwarz and Antonio Cándido. Secondly, I will present an outline focusing on Colombian literature, still in process, from two novels, Pax by José María Rivas Groot y Lorenzo Marroquín, and One Hundred Years of Solitude by Gabriel García Márquez. I am unsure how conscious is the relationship between the two, but what is certain is that the first influences the intention of the second."
"This month, Gabriel García Márquez's Living to Tell the Tale (Vivir para contarla) comes to an American audience, neatly coinciding with a PEN American Center tribute to the author on November 5. Already a best seller in the Spanish-speaking world, this new work is the first volume in an epic trilogy of García Márquez's life."
Dubatti states that Of Love and Other Demons skillfully combines a fitted narration and a simple prose that privileges direct communication. He also continues to mention elements of García Márquez's works.
A passage from Gabriel Garcia Marquez's novel, Leaf Storm (1957), is used as an example to explain transculturation literature. The naturalist voice of the narrator is substituted for an "outward and inward vision," allowing the villager's perspective on modernization to coexist with an external view of events. Garcia Marquez's techniques provoke observations about literary historiography as the movement of culture, tradition, and institutions rather than as a project of classification.
Arango asserts that by trying to take on the theme of women in García Márquez, what stands out is the abundant absence of critical studies specific to the theme. In general, the themes most studied are social-historical affairs related to Latin American and Colombian history, intertextual relationships of style and the maturity of the author in the building of a national and popular art, and of course biographical themes.
This article analyzes the continuous presence of Darwinian elements in Gabriel García Márquez's works. For example, how the writer reduces and at the same time expands his pertinence. Almarza reflects on Gabriel García Márquez's texts, characters who live in the sun, humidity, rain and sea. The rain, the heat, and the humidity come to be the omnipresent element in his texts. It is a genetic mark; for Dostoyevsky this mark was the weight of individual conscience and for Balzac it is money or the inheritance of the characters, but for Gabriel García Márquez the genetic mark is the climatic presence of the Caribbean in his narrative creatures.
The author chooses to analyze how after Gabriel García Márquez won the Nobel prize, his novel reaches a broad diffusion, almost losing its roots, thus becoming pertinent that these be traced, reconstructing, piece by piece, the passionate process with which a writer comes to be who he is, in a continuous counterpoint of exploration of the reality and assimilation of the literary forms that allow him to express himself.
Williams reviews major Colombian novels published during the 1970s, pointing out the influence of Cien años de soledad on Colombian writers, especially in the use of humor. He also states that El otoño del patriarca was the most important novel of the 1970s, which show a complex narrative technique. In it, García Márquez leaves behind Macondo and its inhabitants.
Pittsburgh, PA : Instituto Nacional de Literatura Iberoamericana
Location:
Library, University of Illinois
Related Item Details:
68(201) : 1067-1080
Notes:
Olsen analyzes the African presence in Del amor y otros demonios, in which this culture takes a very central and explicit role, unlike in his other narrative works. This essay proposes that the novel, by giving a multitude of colonially-marginalized characters a voice, participates in a project to question colonialism and modernity that has traditionally silenced and excluded these groups in Latin American literary works.