Gabriel García Márquez

A man returns to the town where a baffling murder took place twenty-seven years earlier, determined to get to the bottom of the story. Just hours after marrying the beautiful Angela Vicario, everyone agrees, Bayardo San Roman returned his bride in disgrace to her parents. Her distraught family forced her to name her first lover; and her twin brothers announced their intention to murder Santiago Nasar for dishonoring their sister. Yet if everyone knew the murder was going to happen, why did no one intervene to try and stop it? The more that is learned, the less is understood, and as the story races to its inexplicable conclusion, an entire society--not just a pair of murderers—is put on trial.

On the eve of his ninetieth birthday a bachelor decides to give himself a wild night of love with a virgin. As is his habit–he has purchased hundreds of women–he asks a madam for her assistance. The fourteen-year-old girl who is procured for him is enchanting, but exhausted as she is from caring for siblings and her job sewing buttons, she can do little but sleep. Yet with this sleeping beauty at his side, it is he who awakens to a romance he has never known. Tender, knowing, and slyly comic, Memories of My Melancholy Whores is an exquisite addition to the master’s work. --back cover

On her twelfth birthday, Sierva Maria, the only child of a decaying noble family in an eighteenth-century South American seaport, is bitten by a rabid dog. Believed to be possessed, she is brought to a convent for observation. And into her cell stumbles Father Cayetano Delaura, who has already dreamed about a girl with hair trailing after her like a bridal train. As he tends to her with holy water and sacramental oils, Delaura feels something shocking begin to occur. He has fallen in love, and it isn't long until Sierva Maria joins him in his fevered misery. Unsettling and indelible, Of Love and Other Demons is an evocative, majestic tale of the most universal experiences known to woman and man.

The brilliant, bestselling, landmark novel that tells the story of the Buendia family, and chronicles the irreconcilable conflict between the desire for solitude and the need for love—in rich, imaginative prose that has come to define an entire genre known as "magical realism."

The extraordinary rediscovered novel from the Nobel Prize–winning author of Love in the Time of Cholera and One Hundred Years of Solitude   Sitting alone beside the languorous blue waters of the lagoon, Ana Magdalena Bach contemplates the men at the hotel bar. She has been happily married for twenty-seven years and has no reason to escape the life she has made with her husband and children. And yet, every August, she travels by ferry here to the island where her mother is buried, and for one night takes a new lover.      Across sultry Caribbean evenings full of salsa and boleros, lotharios and conmen, Ana journeys further each year into the hinterland of her desire and the fear hidden in her heart.      Constantly surprising, joyously sensual, Until August is a profound meditation on freedom, regret, self-transformation, and the mysteries of love—an unexpected gift from one of the greatest writers the world has ever known.

One of Gabriel Garcia Marquez's most intricate and ambitious works, The Autumn of the Patriarch is a brilliant tale of a Caribbean tyrant and the corruption of power. From charity to deceit, benevolence to violence, fear of God to extreme cruelty, the dictator of The Autumn of the Patriarch embodies the best but also the worst of human nature. Gabriel Garcia Marquez, the renowned master of magical realism, vividly portrays the dying tyrant caught in the prison of his own dictatorship. Employing an innovative, dreamlike style, and overflowing with symbolic descriptions, the novel transports the reader to a world that is at once fanciful and vividly real.

In 1973, the film director Miguel Littín fled Chile after a U.S.-supported military coup toppled the democratically elected socialist government of Salvador Allende. The new dictator, General Augusto Pinochet, instituted a reign of terror and turned Chile into a laboratory to test the poisonous prescriptions of the American economist Milton Friedman. In 1985, Littín returned to Chile disguised as a Uruguayan businessman. He was desperate to see the homeland he’d been exiled from for so many years; he also meant to pull off a very tricky stunt: with the help of three film crews from three different countries, each supposedly busy making a movie to promote tourism, he would secretly put together a film that would tell the truth about Pinochet’s benighted Chile—a film that would capture the world’s attention while landing the general and his secret police with a very visible black eye. Afterwards, the great novelist Gabriel García Márquez sat down with Littín to hear the story of his escapade, with all its scary, comic, and not-a-little surreal ups and downs. Then, applying the same unequaled gifts that had already gained him a Nobel Prize, García Márquez wrote it down. Clandestine in Chile is a true-life adventure story and a classic of modern reportage.

El primer libro de Gabriel García Márquez —de 1955— contiene el germen estilístico y de las ideas que nutrirían su vasta producción. La hojarasca es el recuente infausto de una callada venganza colectiva que tiene lugar en Macondo, en la época cuando el pueblo recibe al torrente desordenado que sigue a la explotación del banano, y su estela desastrosa tras la sangrienta rebelión de los trabajadores. Prefiguración impregnada de un aura sobrenatural y a la vez incuestionablemente realista, este relato a tres voces es la piedra fundamental del reino espléndido del colombiano universal.

Sin duda, una de las novelas en las que García Márquez demuestra todo su talento en la narración y, especialmente, en la descripción. Es la historia de un hombre que va a ser asesinado, y a diferencia del resto del pueblo, él no lo sabe. Más allá de la originalidad de la historia está el talento del autor, que lo lleva a uno a meterse por completo en el libro.

Aunque conocida con este título abreviado, el verdadero título de esta obra, mucho más largo, resume perfectamente la historia: Relato de un náufrago que estuvo diez días a la deriva en una balsa sin comer ni beber, que fue proclamado héroe de la patria, besado por las reinas de la belleza y hecho rico por la publicidad, y luego aborrecido por el gobierno y olvidado para siempre. Publicado por entregas en El Espectador de Bogotá en 1955 y más tarde en libro (en 1970), no una novela, sino un reportaje periodístico que da cuenta de un suceso real. Con impecable técnica literaria y profesional estilo noticioso, García Márquez relata un suceso acaecido a un marinero de la armada colombiana llamado Luis Alejandro Velasco. La historia, reconstruida minuciosamente por el escritor sudamericano en primera persona a partir del testimonio del protagonista, fue tácticamente atribuida a éste en la prensa y sólo legitimada tras el formidable éxito de Cien años de soledad.

From one of the titans of twentieth-century literature, collected here for the first time: a selection of his journalism from the late 1940s to the mid-1980s–work that he considered even more important to his legacy than his universally acclaimed works of fiction. “I don’t want to be remembered for One Hundred Years of Solitude or for the Nobel Prize but rather for my journalism,” Gabriel García Márquez said in the final years of his life. And while some of his journalistic writings have been made available over the years, this is the first volume to gather a representative selection from across the first four decades of his career–years during which he worked as a full-time, often muckraking, and controversial journalist, even as he penned the fiction that would bring him the Nobel Prize in 1982. Here are the first pieces he wrote while working for newspapers in the coastal Colombian cities of Cartagena and Barranquilla . . . his longer, more fictionlike reportage from Paris and Rome . . . his monthly columns for Spain’s El País. And while all the work points in style, wit, depth, and passion to his fiction, these fifty pieces are, more than anything, a revelation of the writer working at the profession he believed to be “the best in the world.”

General Simon Bolivar, the Liberator of five South American countries, takes a last melancholy journey down the Magdalena River, revisiting cities along its shores, and reliving the triumphs, passions, and betrayals of his life. Infinitely charming, prodigiously successful in love, war and politics, he still dances with such enthusiasm and skill that his witnesses cannot believe he is ill. Aflame with memories of the power that he commanded and the dream of continental unity that eluded him, he is a moving exemplar of how much can be won and lost in a life.

'THE FIRST THING SEÑORA PRUDENCIA LINERO NOTICED WHEN SHE REACHED THE PORT OF NAPLES WAS THAT IT HAD THE SAME SMELL AS THE PORT OF RIOHACHA' Their distant, nostalgic memories of home, their sense of anonymity in a foreign land, the terrifying pang of vulnerability they feel as they step over the threshold into an alien world... Márquez's strange pilgrims - the ageing prostitute preparing for death by teaching her dog to weep at her grave, the panicked husband scared for the life of his injured wife, the old man who allows his mind to wander on a long-haul flight from Paris - experience with all his humour, warmth and colour what it is to be a Latin American adrift in Europe or, indeed, any outsider living far from home.

Alternate cover edition here Set in the decaying Colombian town of Macondo, the Colonel is scraping together the money for food and medicine. It is the Colonel's rooster that gives him hope for a better future as it has become a symbol of defiance in the face of despair.

"Muitos anos depois, diante do pelotão de fuzilamento, o coronel Aureliano Buendía haveria de recordar aquela tarde remota em que o pai o levou a conhecer o gelo." Com estas palavras - tão célebres já como as palavras iniciais do Dom Quixote ou de À Procura do Tempo Perdido - começam estes Cem Anos de Solidão, obra-prima da literatura contemporânea, traduzida em todas as línguas do mundo, que consagrou definitivamente Gabriel García Márquez como um dos maiores escritores do nosso tempo. A fabulosa aventura da família Buendía-Iguarán com os seus milagres, fantasias, obsessões, tragédias, incestos, adultérios, rebeldias, descobertas e condenações são a representação ao mesmo tempo do mito e da história, da tragédia e do amor do mundo inteiro.

Cuento de Gabriel García Márquez. Acompañado por fotografías de Hernán Díaz.

Without hurrying, with an extremely tranquil movement, he stopped pedaling the drill, pushed it away from the chair, and pulled the lower drawer of the table all the way out. There was a revolver. “O.K.,” he said. “Tell him to come and shoot me.”

"Muchos años después, frente al pelotón de fusilamiento, el coronel Aureliano Buendía había de recordar aquella tarde remota en que su padre lo llevó a conocer el hielo". Con estas palabras empieza una novela ya legendaria en los anales de la literatura universal, una de las aventuras literarias más fascinantes de nuestro siglo. Millones de ejemplares de Cien años de Soledad leídos en todas las lenguas y el premio Nobel de Literatura coronando una obra que se había abierto paso "boca a boca". La Real Academia Española y la Asociación de Academias de la Lengua Española presentan Cien años de soledad, una edición popular conmemorativa cuyo texto ha revisado el propio Gabriel García Márquez. A pesar del esmero con que el propio escritor corrigió las pruebas de la primera edición (Sudamericana, 1967), se deslizaron en ella indeseadas erratas y expresiones dudosas que editores sucesivos han tratado de resolver con mejor o peor fortuna. Un estudio comparativo detallado de cada caso ha permitido ahora presentar una propuesta razonada al propio autor, que ha querido revisar las pruebas de imprenta completas, enriqueciendo así esta edición con su trabajo de depuración y fijación del texto.

Nach einem Mord, und nachdem der Geist des Ermordeten ihn und seine Frau nicht mehr in Ruhe gelassen hatte, machen sich José Arcadio Buendía, seine Frau Ursula und einige andere auf den Weg, um ein neues Dorf zu gründen. Macondo liegt irgendwo im Urwald, keine Straße führt dorthin, und nur die Zigeuner finden immer wieder ihren Weg zu ihnen, um ihnen die neuesten Erfindungen zu präsentieren -- die von José Arcadio jeweils mit Begeisterung gekauft und ausprobiert werden, ob es sich nun um Magneten oder um Chemikalien handelt. Melchíades, der Weise, der diese Erfindungen jeweils präsentiert, unterweist ihn im Gebrauch dieser Neuerungen. Zwei Söhne werden ihnen geboren; José Arcadio und Aureliano. Das Haus füllt sich auch sonst mit Menschen; immer mehr werden es, die Kinder der Gespielinnen der Söhne werden ebenso im Haus deponiert wie entfernte Verwandte, von denen keiner weiß, wer sie eigentlich sind. Über Generationen hinweg wird nun von dieser Familie erzählt; vom General, der 32 Aufstände anzettelt und jedesmal scheitert, der unzählige Attentate überlebt, der siebzehn Söhne zeugt und alle in einer einzigen Nacht wieder verliert; von Eifersüchteleien, von unerfüllter Liebe und Leidenschaft, von Inzest, vom Leben und vom Sterben. Mit der Familie wächst auch das Dorf, wird immer weiter an die Errungenschaften der Technik angeschlossen, eine Eisenbahn verkehrt, eine Bananengesellschaft wird gegründet; bis das Rad sich wieder dreht und das Dorf wieder zu seinem Ursprung zurückkehrt. Naturkatastrophen verhindern das Bleiben der Bananengesellschaft, auch sonst passiert hier nicht mehr viel, und zum Schluss soll sich auch noch die alte Prophezeiung erfüllen, dass zu viel Inzucht zu Söhnen mit Schweineschwänzchen führt. Zu diesem Buch eine Inhaltsangabe abzugeben, ist nahezu ein Ding der Unmöglichkeit. Viel zu viel passiert auf diesen beinahe 500 Seiten; und vor allem: Es ist ausgesprochen schwierig, bei diesen vielen sich überschneidenden Generationen mit den ewig gleichen Namen den Überblick nicht zu verlieren. Wobei der Autor mit dieser Unsicherheit ja auch ganz bewusst arbeitet; es gibt ein Zwillingspärchen, das sich bis zum Tod immer wieder vertauscht und selber nicht mehr weiß, wer nun wer ist. Vor zehn Jahren hatte ich dieses Buch ja schon einmal gelesen. Meine Erinnerung an den Inhalt war recht spärlich, aber woran ich mich noch genau erinnern konnte, war das Gefühl, ein höchst beeindruckendes Buch gelesen zu haben. Es lohnt sich sehr, sich für dieses Buch eine längere Zeitspanne zu reservieren, in der man ununterbrochen lesen kann; der in diesem Buch begründete magische Realismus kann so seine Wirkung am besten entfalten. Woran ich mich auch nicht erinnern konnte, oder was mir damals vielleicht auch noch gar nicht aufgefallen war, ist der unglaubliche Humor, der hier versteckt ist. Allerdings ist es ein tiefgründiger Humor, der seine Wirkung daraus bezieht, dass man die Figuren im Buch kennt, und der sich schwerlich durch die Erzählung von Anekdoten wiedergeben lässt. Alles in allem bin ich wiederum schwer begeistert und freue mich schon auf den Genuss, den dieses Buch mir beim nächsten Lesen bieten wird. --Daniela Ecker

Un maravilloso regalo inesperado para los innumerables lectores de García Márquez   Cada mes de agosto Ana Magdalena Bach toma el transbordador hasta la isla donde está enterrada su madre para visitar la tumba en la que yace. Esas visitas acaban suponiendo una irresistible invitación a convertirse en una persona distinta durante una noche al año. Escrita en el inconfundible y fascinante estilo de García Márquez, En agosto nos vemos es un canto a la vida, a la resistencia del goce pese al paso del tiempo y al deseo femenino. Un regalo inesperado para los innumerables lectores del Nobel colombiano.

El 26 de octubre de 1949 el reportero Gabriel Garcia Marquez fue enviado al antiguo convento de Santa Clara, que iba a ser demolido para edificar sobre el un hotel de cinco estrellas, a presenciar el vaciado de las criptas funerarias y a cubrir la noticia. Se exhumaron los restos de un virrey del Peru y su amante secreta, un obispo, varias abadesas, un bachiller de artes y una marquesa. Pero la sorpresa salto al destapar la tercera hornacina del altar mayor: se desparramo una cabellera de color cobre, de veintidos metros y once centimetros de largo, perteneciente a una nina. En la lapida a penas se leia el hombre: Sierva Maria de Todos los Angeles.

"L'anno dei miei novant'anni decisi di regalarmi una notte di amore folle con un'adolescente vergine". Comincia così il nuovo romanzo di Gabriel Garcia Márquez, il libro con cui il premio Nobel colombiano torna dopo dieci anni alla narrativa. A raccontare è la voce dell'anziano protagonista, un giornalista eccentrico e solitario, che accanto a un'adolescente scopre il piacere inverosimile di contemplare il corpo nudo di una donna che dorme "senza le urgenze del desiderio o gli intralci del pudore". Scopre forse per la prima volta l'amore, quello che non ha mai cercato in tutte le donne che ha incontrato e conosciuto, trovando "l'inizio di una nuova vita a un'età in cui la maggior parte dei mortali è già morta".

In their youth, Florentino Ariza and Fermina Daza fall passionately in love. When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is heartbroken, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.

“A Very Old Man with Enormous Wings” is a short story that begins with a couple, Pelayo and Elisenda, finding a very old man in their courtyard during a stormy afternoon. They watch in astonishment the enormous wings attached to the body of the old man as he struggles to get up from the mud. Their neighbour comes over and lets them know that the old man is an angel. Pelayo locks the angel in a chicken coop overnight. Tired of having too many visitors, the couple decides to charge an entrance fee to see the angel. The story progresses and describes the community's reduction of the old man to a freak and its brief fascination with him, only to be replaced with a new spectacle.

Written with compassionate realism and wit, the stories in this mesmerizing collection depict the disparities of town and village life in South America, of the frightfully poor and the outrageously rich, of memories and illusions, and of lost opportunities and present joys.

Chronicles the experiences of an exiled Chilean film director who returned to his homeland in disguise in order to make a secret documentary about the military government

Herinnering aan mijn droeve hoeren is het verhaal van een man die zichzelf op zijn negentigste verjaardag op een ongebruikelijk cadeau trakteert: een jong meisje, maagd nog. Tussen de oude man en het meisje groeit een ontroerende, maar eenzijdige relatie: de oude man wordt voor het eerst in zijn leven echt verliefd, terwijl het meisje in zijn aanwezigheid voornamelijk slaapt omdat zij overdag in een fabriek werkt. Herinnering aan mijn droeve hoeren is een gepassioneerde roman over de liefde en de naderende dood.

Em 28 de fevereiro de 1955, oito tripulantes do destróier Caldas, da Marinha da Colômbia, caíram na água e desapareceram durante uma tormenta no Mar do Caribe. Apenas um deles sobreviveu, Luís Alexandre Velasco, que, após passar dez dias à deriva, sem comer nem beber, foi encontrado semimorto numa praia deserta do norte da Colômbia. Praticamente sequestrado pelas autoridades e colocado em um hospital naval, só lhe foi permitido falar nesse tempo a jornalistas do regime, e apenas um da oposição, disfarçado de médico, conseguiu entrevistá-lo. A Colômbia inteira vivia, então, sob a ditadura folclórica de Gustavo Rojas Pinilla, e Velasco foi transformado em um herói nacional, fazendo discursos patrióticos no rádio e na televisão. Pouco tempo depois, Luís Alexandre Veloso entrou na redação do El Espectador oferecendo sua história, que àquela altura não era nada mais do que notícia velha. Embora supondo que ele não teria muito o que contar, pois o governo fixara muito bem os limites de sua declaração, o editor-chefe seguiu sua intuição e fez um trato com Velasco. Em vinte sessões de seis horas diárias, Velasco relatou a tragédia para o então repórter iniciante Gabriel García Márquez, que descobriu que...

Da José Arcadio ad Aureliano, dalla scoperta del ghiaccio alla decifrazione delle pergamene di Melquíades: sette generazioni di Buendía inseguono un destino ineluttabile. Con questo romanzo tumultuoso che usa i toni della favola, sorretto da un linguaggio portentoso e da una prodigiosa fantasia, Gabriel García Márquez ha saputo rifondare la realtà e, attraverso Macondo, creare un vero e proprio paradigma dell'esistenza umana. Un universo di solitudini incrociate, impenetrabili ed eterne, in cui galleggia una moltitudine di eroi.

Escritos entre 1947 e 1955, os treze contos deste volume atestam o talento do colombiano Gabriel García Márquez, Prémio Nobel de Literatura de 1982. Consagrado primeiro como romancista, García Márquez só lançaria este "Olhos de Cão Azul" em 1974. Inclui um dos seus contos mais célebres "Monólogo de Isabel vendo chover em Macondo". Este relato, hoje incluído em todas as antologias do conto latino-americano, foi a primeira pedra do gigantesco edifício que culminaria numa das obras literárias mais poderosas do nosso tempo, "Cem Anos de Solidão".

Da un'antica tomba nel convento delle clarisse di Cartagena emerge una lunghissima chioma rossa. Dal singolare evento, cui il giovane Garcia Màrquez, allora cronista alle prime armi, si trovò ad assistere, scaturisce questo affascinante racconto pubblicato nel 1994, con il quale Gabo torna alle atmosfere di Cent'anni di solitudine e ai temi dell'Amore ai tempi del colera, la passione erotica che diventa malattia, metafora della letteratura e della vita. Al centro della vicenda, ambientata in una Cartagena de Indias perduta in un vago e oscuro passato coloniale, sospeso tra il possibile e il misterioso, c'è la passione innaturale e distruttiva che vede protagonisti una bellissima bambina morsa da un cane rabbioso, un medico negromante e un giovane esorcista posseduto dal mal d'amore. Costruito con la logica di Calderón de la Barca e l'ironia di Cervantes, Dell'amore e di altri demoni vive di una prosa insolitamente scarna ed essenziale. Una scrittura decantata e limpida che dà vita a pagine di struggente poesia e di emozionato pudore con cui Gabriel Garcia Márquez riesce ad avvincere il lettore, trascinandolo in un enigmatico universo capace di travolgere i sensi e i sentimenti.

Santiago Nasar morirà. I gemelli Vicario hanno già affilato i loro coltelli nel negozio di Faustino Santos. A Manaure, "villaggio di salnitro su un mare di amme", lo sanno tutti: i fratelli della bella Angela vendicheranno l'onore di quella verginità rubata in modo misterioso dall'aitante Santiago. Tutti lo sanno, ma nessuno fa nulla per impedirlo e così la morte annunciata si compirà, complice un destino bizzarro e crudele, davanti alla porta di casa, nel fulgore di una splendida mattinata tropicale. Basato su un fatto reale, "Cronaca di una morte annunciata" fonde i toni della tragedia antica con il ritmo di una detective story in una grandiosa allegoria dell'assurdità della vita.

In an illustrated version of the short story, an aging Brazilian former prostitute living in Barcelona makes arrangements for her burial and for the care of her beloved dog, Noi.

The brilliant, bestselling, landmark novel that tells the story of the Buendia family, and chronicles the irreconcilable conflict between the desire for solitude and the need for love—in rich, imaginative prose that has come to define an entire genre known as "magical realism."

Dos historias hay en este libro. Una de ellas, apenas esbozada, es la de un amor secreto que culmina en la muerte elegida por un hombre que ha querido ponerse a salvo "de los tormentos de la memoria." La otra historia es la de un amor que hace de esos tormentos su alimento. Un amor acechado por los enemigos: el deterioro fisico, la vejez, la muerte, pero que es capaz, no solo de resistirlos, sino tambien de transformarlos en el impetu del deseo. Una muchacha de dieciocho años rechaza al hombre de quien ha estado enamorada y con quien le han impedido unirse. Mas de cincuenta años despues, cuando ha muerto otro hombre con quien se ha casado para vivir un lapso de sucedaneos desdeñables, se reune con aquel primer amor suyo a bordo de un barco que se llama Nueva Fidelidad. La exacerbacion del deseo se alia a la muerte y a la enfermedad porque se les parece: "Los sintomas del amor son los mismos del colera." En este relato infinitamente seductor, Gabriel Garcia Marquez narra la obsesion del deseo con un arrebato que lo aparta de sus grandes novelas anteriores y a la vez lo acerca a ellas. A la circularidad del tiempo en Macondo, al enclaustramiento del tirano aislado en su poder demencial, sucede ahora la vigencia imbatible del deseo ahincado en si mismo. Un deseo que avanza hacia su origen en un movimiento que no cesa. Como el movimiento del barco Nueva Fidelidad, que seguira yendo y viniendo "toda la vida". Son las palabras que cierran, reanudandola, esta historia de amor.