By Rubén Pelayo
Grasp of magic realism, uncommon journalist and picture critic, buddy of worldwide leaders starting from Fidel Castro to Pres. invoice Clinton, Gabriel Garc?a M?rquez improbably emerged from imprecise beginnings to turn into an writer extra liked of readers around the world than the other residing author. His plots and protean characters plunge readers into the realm of fantasy, but their common charm, as this biography exhibits, is deeply rooted within the particularity of Garc?a M?rquez's personal idiosyncratic youth and his later extensive travels, all undertaken with the stressed interest and zest for all times that he manages to rouse in his readers.
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Extra resources for Gabriel García Márquez: A Biography (Greenwood Biographies)
Sample text
In 1954, Ernest Hemingway was awarded the Nobel Prize for Literature. However, at the age of 61, anxiety-ridden and depressed, he took his own life, on July 2, 1961. The Barranquilla Group, perhaps driven by their intellectual ambition, started La Crónica, a tabloid magazine that combined literature with sports news. This was a weekly publication, first published on April 29, 1950. Alfonso Fuenmayor was the director, and García Márquez was the editor in chief. The two of them would bear most of the responsibility for putting out the weekly publication, but the rest of the Barranquilla Group were members of the Board and contributed with their writing.
García Márquez, at that time, was a chain smoker, so the high altitude made him feel short of breath. While Bogotá was a city where the influence of the supernatural of his childhood was rather removed from society, the advent of Kafka’s Metamorphosis was a strong connection to his infancy. The tempo and dynamics of the city were those of the most important city in Colombia. The fashions were European, the president of the country did business here, and everything Colombian of great importance seemed to have its epicenter here.
It is not uncommon to see people’s homes swept away by the storms. In the story’s plot, the railroad tracks are carried away, and people and animals drown, but this terrifying account of a deluge reads as if it were a tropical rain we simply have to come to understand. It is all beyond our imagination, and in the end, the omniscient narrative voice tells us it might have been Isabel’s imagination. The story is left open ended. It offers many possibilities for interpretation, and several thematic issues for discussion.