"He had always been the most disciplined of writers, sitting early in the morning before his trusty Macintosh, the magical, poetic words that have defined Latin America spilling from his head. That part never changed. But then Gabriel García Márquez, the 1982 Nobel laureate from Colombia and the foremost author in Latin America, learned in 1999 that he had lymphatic cancer."
San José, Costa Rica : Editorial de la Universidad de Costa Rica
Location:
Library, University of Illinois
Notes:
This book talks about love and betrayal within Latin American literature and film. The book has a section entitled "García Márquez en el cine: la primera pasión." The book includes a list of GGM books that have been adapted into film (347), as well as copies of the film poster for "Crónica de una muerte anunciada" (1986).
After admitting for a long time, and in some cases in a simple and compliant manner, the definition of Colombia as a "land of poets" and of Bogotá as "The Athens of South America," new writers and scholars put these concepts on trial and try to formulate a literary and different cultural conscience,while giving explanations to thought and the expressive forms of the past.
Santiago, Chile : Universidad de Chile, Facultad de Filosofía y Humanidades, Departamento de Literatura
Location:
Library, University of Illinois
Related Item Details:
(61) : 145-185
Notes:
"This article represents an "analysis" and "interpretation" (Kayser) of García Márquez, particularly of his most famous novel. The psychosemantics in the title already reveals the power of myth, displayed in the archetype (Jung) of Macondo, Úrsula, of Time, etc. The perspective applied to the novel includes and integrates psychohistorical, psychomythological and ethnopsychological dimensions, clearly in the vanguard of contemporary psychology. This interpretation not only appeals to Freud and Jung, but also to the psychological and social sciences of the Latin America of today." -Abstract at the end of article
Gil Flores compares and contrasts the movie "El coronel no tiene quien le escriba," directed by the Mexican director, Arturo Ripstein, and the book that inspired the movie, by Gabriel García Márquez.
Viewed on 24 January, 2008.||"With the upcoming memoirs of García Márquez, here we present some episodes of his life that have been ignored, starting with the reading of Cómo aprendió a escribir García Márquez, an investigation by author and journalist, Jorge García Usta."
Madrid, Spain : Insula, Librería, Ediciones y Publicaciones, S.A.
Location:
Library, University of Illinois
Related Item Details:
62(723) : pp. 6
Notes:
"Bercht en 'Los negocios del señor Junio César' nos decía que los grandes hombres se han esforzado siempre por ocultar el verdadero móvil de sus actos. Sin lugar a dudas, Julio César era un gran hombre, y quizás por esta razón García Márquez habría de afirmar que aprendió mucho de él, esto es, que aprehendió los modos de actuación que adoptó su fascinante delirio de dictador. García Márquez hubiera quierido crear un personaje como el Julio César en la literatura (1), pero Roma no es el Caribe y sus dictafores no son [grandes hombres]. Lo único que permanece invariable en ambos casos es el enigma del poder, su delirio. Entonces, la pregunta se precipita: por quéno se cuentan siempre las mismas historias del mismo modo?"
García Usta states that even though Cartagena was where one of the fundamental periods in the literary and journalistic formation of Gabriel García Márquez, and even though Cartagena is the second most important stage -- real, fictional, or multipurpose-- after Macondo, it has been subtly disdained by the most divulged interpretation of his literary genesis.
Cabañas Bravo examines the representation of violence in three Colombian narrative works: La virgen de los Sicarios (1994) by Fernando Vallejo, Noticia de un secuestro (1996) by Gabriel García Márquez, and Rosario Tijeras (1999) by Jorge Franco Ramos. Precisely, the hitman figure becomes an allegoric figure, through which the complexities of the issue of violence in society are explored. These narrative works recompose the contradictions, hypocrisies and tricks of the moral and social codes of Colombia, as well as offering new interpretations of the hitman as a symptom of deeper sociopolitical issues. This literature demythifies the causes of violence, deconstructing the myths created by the elite class.
Bogotá, Colombia : Instituto de Estudios Politicos y Relaciones Internacionales, Universidad Nacional de Colombia
Location:
Library, University of Illinois
Related Item Details:
43 : 100-112
Notes:
This article views Gabriel Garcia Marquez's (1972) "La increible y triste historia de la cándida Erendira y su abuela desalmada (The Incredible and Sad Tale of Innocent Erendira and her Heartless Grandmother)" as not simply rhetoric but a portrait of the human experience of power. The story, style, structure, and social geographical context of the book are contrasted with those of other works by García Márquez. The psychology of the grandmother in the books is tied to that of the mythical dictator in El otoño del patriarca (The Autumn of the Patriarch; the author modeled this personality type on numerous Latin American and historical dictators, with parts drawn from Shakespeare and Italian neorealist films. Religious, sexual, and material symbols of power in the story are discussed.