Gabriel Garcia Marquez

Introduction

García Márquez is recorded in their own fiction: the truth does not make him that much. As Jorge Luis Borges, he treats history as a branch of fantastic literature, to the deeper truth behind the facts to reveal. Yet García Márquez always says: 'Every line in my work goes back to reality.'' One of the strongest episodes of One Hundred Years of Solitude is the massacre, in 1928, among the striking workers of the banana plantations on the station square in Cienaga. Márquez describes the massacre so convincing that many of the hail of bullets on the roofs on the defenseless protesters came down have given''. The image of the train that night the three thousand of them seem carries away the rocks to throw is a classic metaphor of the defenselessness of the have-nots, in Latin America and elsewhere (Jehensen, & McNerney, 1990, pp. 433).

Discussion

Early Life

The writer has hit a home run: the fiction, the facts corrected. Recently, a speaker at a commemoration of the tragedy prompted a minute's silence in memory of the three thousand anonymous martyrs by the public order guards were massacred!'' Márquez's father already knew that he regarded his first fruits as a 'liar' boy, that everything in the village he had heard and seen and told differently with his twisted fantasies.'' His greatest passions were drawing and reading; at age eleven he read enthusiastically Colombian poets and the classics of Spanish Golden Age. In between he also devoured the stories of the Brothers Grimm and Verne and Dumas Salgari. Between brackets: it's amazing how when European books in that distant village (usually through Argentine translations) were available (Kennedy, 1976, pp. 1).

Márquez Work

Márquez knows perfectly well that he himself is the source of many apocryphal stories. 'My ability to visualize certain episodes they really like I've experienced, especially in my early youth, has caused much confusion in my memory.'' Saldívars peat should clarify the period that goes to the publication of Cien años soledad (1967). He adds nothing essential to the numerous interviews that Márquez has authorized and autobiographical interviews with Plinio Apuleyo Mendoza (see The smell of guava, Meulenhoff, 1983).

Yet there is much interesting in that book. Saldívar pointed example casually, and without explanation, that the writer and the vallenato composer Rafael Escalona, ??the same surname were: Gabriel's name was in fact Martínez Márquez, and Rafael Escalona Martínez''. In Spanish-speaking countries have the legitimate descendants two surnames: the father's surname, followed by that of the mother. For natural children, as the father of Márquez, Gabriel Eligio García Martínez, is the other way. Was the father a legitimate child was, he had called García Martínez. Apparently it was no disgrace to be born outside of marriage: in the pedigree of the author are also the numerous illegitimate children of his grandfather mentioned. Some of that love children were included in the big house in Aracataca (Maurya, 1983, pp. 53).

In Saldívars biography are many names for that particular registry is not a luxury.Unfortunately, many bibliographic references in the forty-five pages of small print notes unusable. If for example, he quotes from Mendoza says: The smell of guava, op.cit., Without ...