Bir Gazeteci Olarak Hayatım / Márquez

Tüm gazeteciliğin, tanım olarak, araştırmacı olduğu bilinmelidir... Ve ahlakın (etik'in) öylesine bir meslek şartı değil, vazgeçilmez bir şart olduğu bilinmelidir.

Ümit Kıvanç'ın Riya Tabirleri blogu'ndan aktarıyoruz; her zamanki gibi en güncel ve en beklendiği gibi. Teşekkürlerle. Kıvanç'ın kısacık sunumu ve Marquez'in kısacık yazısı.

Gabriel García Márquez'in Inter-American Press Association toplantısında yaptığı konuşmadan derlenmiş, Index on Censorship dergisinin 25. yıldönümü özel sayısında (Mart 1997) yeralmış metni, Mustafa Dağıstanlı çevirmişti, ben de haysiyet.com'da yayımlamıştım. Marquez artık yok. Haysiyet.com da. Ama yazı kalır. Kulağımız Márquez'de: Elli yıl kadar önce gazetecilik okulları yoktu. İşi haber merkezinde öğrenirdi insan, matbaada, civardaki kahvede ve Cuma akşamı meyhanelerinde öğrenirdi. Tüm gazete, gazetecilerin üretildiği ve ıvır zıvır tartışmalar olmaksızın haberlerin basıldığı bir fabrikaydı. Biz gazeteciler daima omuz omuza dururduk, ortak bir hayatımız vardı ve öylesine tutkuyla bağlıydık ki işimize, başka hiçbir şeyden konuşmazdık.

İş, kişisel hayata çok az yer bırakan sıkı arkadaşlıklar geliştirirdi. Rutin editoryal toplantılar yoktu, ama her akşamüstü saat beşte tüm gazete haber merkezinin bir köşesinde kahve molası için toplanırdı. Bu, gazetenin her bölümündeki günün konularını tartıştığımız ve ertesi günkü gazeteye son rötuşlarımızı yaptığımız açık bir toplantıydı.

Gazete, o zaman, üç büyük bölüme ayrılmıştı: haberler, makaleler ve editoryal. En prestijli ve hassas olanı editoryal bölümdü; bir muhabir en alt basamaktaydı, bir stajyerle getir götür işleri yapan biri arasında bir yerlerde. Ben 19 yaşında acemi bir muhabir olarak başladım kariyerime ve basamakları yavaş yavaş çıkarak en üst pozisyon olan editoryal yazarlığa kadar yükseldim.

Sonra gazetecilik okulları ve teknoloji geldi. İlk mezunlar kısıtlı bir gramer ve sentaks bilgisiyle, karmaşık kavramları anlama zorluğuyla ve tüm etik mülahazaları hiçe sayarak bedeli ne olursa olsun "atlatma" habere önem veren tehlikeli bir mesleki yanlış anlamayla avdet ettiler.Meslek, anlaşılan, kendi iş aletleri kadar hızlı gelişmedi. Teknoloji labirentinde kaybolan gazeteciler, hiçbir kontrol olmaksızın mesleği delice bir hızla geleceğe taşıdılar.Başka bir deyişle; gazetecilik işi, meslek ruhunu güçlendiren eski katılım mekanizmasını bir yana bırakarak, maddi modernizasyon için kendini gözü dönmüş bir rekabetin içine soktu. Haber merkezleri, okuyucuların kalplerindense uzay dışı varlıklarla iletişim kurmaya elverişli laboratuvarlar haline geldi.

Teleks icat edilmeden önce, Allah yoluna baş koymuş bir rahibe radyoyu dinlerken, gaipten gelen fısıltılar gibi havada uçuşan dünya haberlerini yakalardı. İyi donanımlı bir yazar, sanki bir tek omurdan yola çıkarak bir dinozorun iskeletini yeniden kurar gibi, arka plan bilgilerini ve diğer ilgili ayrıntıları ekleyerek dağınık parçaları biraraya getirirdi.Bir tek editoryal yazmak yasaktı, çünkü o gazete yayıncısının kutsal hakkıydı; o yazmamış olsa da herkes editoryalleri onun yazdığını varsayardı ve istisnasız içinden çıkılmaz durumda gelen bu metinler daha sonra yayıncının kendi sekreteri tarafından anlaşılır hale sokulurdu.

Şimdi, olgu ve fikir içiçe geçmiş durumda: haberlerde yorum var, editoryaller de olgularla bezeli. "Haber kaynakları"ndan veya (adının açıklanmasını istemeyen) "hükümet yetkilileri"nden veya her şeyi bilen ama kim olduklarını kimsenin bilmediği gözlemcilerden alıntılar, cezasız kalan tüm ihlalleri örtbas ediyor.Ama suçlu taraf, ahmakça alet olup olmadığını, bilgiyi haber kaynağı tarafından seçilen biçimde aktarırken manipüle edilip edilmediğini kendine asla sormaksızın kaynağını açıklamama hakkını elinde tutuyor. Ben kötü gazetecilerin haber kaynaklarına kendi hayatları gibi bağlandıklarına inanırım; özellikle, bu bir resmi kaynaksa, onlara mitik nitelikler bahşettiklerine, onları koruduklarına, beslediklerine ve sonunda ikinci bir kaynak ihtiyacını reddetmeye yol açan tehlikeli bir suç ortaklığı geliştirdiklerine inanırım.

Bence bu oyundaki diğer suçlu ses kayıt cihazıdır (teyp). O icat edilmeden önce, iş sadece üç şeyle gayet iyi yapılıyordu: not defteri, şaşmaz bir ahlak (etik) ve kaynakların söylediği şeyleri duyan bir çift kulak.Kayıt cihazı için mesleki ve ahlaki kılavuz henüz icat edilmemişti. Birilerinin genç muhabirlere öğretmesi gerekiyor ki, kayıt cihazı hafızanın yerini tutacak bir şey değil, eski moda not defterinin geliştirilmiş basit bir türüdür.

Kayıt cihazı dinler, tekrar eder -dijital bir papağan gibi- fakat düşünmez. Sadıktır, fakat kalbi yoktur; ve nihayet, harfi harfine kaydedeceği şey, konuşulan kişinin gerçek kelimelerine kulak kesilen ve aynı zamanda, o kelimeleri bilgisi ve tecrübesiyle ele alıp değerlendiren gazetecinin yakaladığı şeyden asla daha güvenilir olmayacaktır.

Kayıt cihazı, şimdilerde röportaja verilen aşırı önemden dolayı bütünüyle suçlanmalıdır. Radyo ve televizyonun doğası gereği, onlar için vazgeçilmez olacağı belliydi. Şimdi öyle görünüyor ki, yazılı medya bile gerçeğin sesinin gazetecininki değil, mülakat yapılanınki olduğunu kabullenen bu yanlış fikri paylaşıyor. Belki de çözüm, gazetecinin dinlediği şeyi edit edebileceği adi not defterine dönmek ve kayıt cihazını paha biçilmez bir tanık olarak asli yerine oturtmaktır.

Günümüz gazeteciliğini yozlaştıran ve mahçup eden etik ihlallerinin ve diğer sorunların her zaman ahlaksızlıktan değil, aynı zamanda mesleki yetenek eksikliğinden kaynaklandığına inanarak biraz rahatlayabiliriz. Belki de gazetecilik okullarının talihsizliği, kimi yararlı hilelerini öğretirken, mesleğin kendisi hakkında az şey öğretmeleridir.Gazetecilik okullarındaki her eğitim üç temel ilkeye oturmalıdır: ilki ve en önemlisi, istidat ve yetenek olmalıdır; sonra, "araştırmacı" gazeteciliğin özel bir şey olmadığı, tüm gazeteciliğin, tanım olarak, araştırmacı olduğu bilinmelidir; ve üçüncüsü, ahlakın (etik'in) öylesine bir meslek şartı değil, vazgeçilmez bir şart olduğu bilinmelidir.

Her gazetecilik okulunun nihai hedefi, temel iş eğitimine dönmek ve gazeteciliği orijinal özelliği olan kamu hizmeti haline getirmek; eski haber merkezlerinin tutkulu, gayrıresmi beş çayı molası seminerlerini yeniden keşfetmek olmalıdır. (GGM/MD)

İstanbul - Index on Censorship - Riya Tabirleri

18 Nisan 2014, Cuma

Gabriel García Márquez

http://bianet.org/bianet/medya/155033-bir-gazeteci-olarak-hayatim-marquez

Gabriel Garcia Marquez hayatını kaybetti

 

Radikal Hayat / 17/04/2014

Dünyaca ünlü yazar Gabriel Garcia Marquez, tedavi gördüğü hastanede 87 yaşında hayata veda etti.NEWYORK - Meksika’nın başkenti Meksiko’da, zatürre nedeniyle geçen ayın sonunda hastaneye kaldırılan ve tedavisinin ardından 9 Nisan’da taburcu edilen Marquez 87 yaşındaydı. Marquez'in ölüm haberi aile üyeleri tarafından doğrulandı. 

Roman ve öyküleri Türkçeye de çevrilen Gabriel Garcia Marquez 1927'de Kolombiya'nın Aracataca kentinde doğdu. Büyükannesiyle büyükbabasının evinde ve teyzelerinin yanında büyüdü. Başkent Bogota'daki Kolombiya Ulusal Üniversitesi'nde başladığı hukuk ve gazetecilik öğrenimini yarım bıraktı. 1940'lardan başlayarak uzun yıllar gazetecilik yaptı. Öykü yazmaya 1940'ların sonlarında başladı. 

Yayınlanan ilk önemli yapıtı Yaprak Fırtınası idi. 1961 de yayınlanan Albaya Mektup Yazan Kimse Yok adlı romanını, Hanım Ana'nın Cenaze Töreni(1962) adlı öykü kitabı ve Kötü Saatte(1962) izledi. Yazar en tanınmış romanı Yüzyıllık Yalnızlık'ı(1967) Meksika'ya ilk gidişinde yazdı. Yüzyıllık Yalnızlık'taki bir bölümden etkilenerek yazdığı öykülerini İyi Kalpli Erendina(1972) adlı kitapta toplayan yazar daha sonra sırasıyla Mavi Bir Köpeğin Gözleri (1972), Başkan Babamızın Sonbaharı (1975), Kırmızı Pazartesi (1981), Kolera Günlerinde Aşk (1985), Labirentindeki General (1989) yayınladı. 

Yazarın Türkiye'de yayınlanan diğer kitapları arasında Bir Kayıp Denizci, Sevgiden Öte Sürekli Ölüm, Aşk ve Öbür Cinler, Şili de Gizlice, On İki Gezici Öykü ve Bir Kaçırılma Öykü sayılabilir. (DHA)

http://www.radikal.com.tr/hayat/gabriel_garcia_marquez_yazar_hayatini_kaybetti-1187309#

18.04.2014 - 07:46 | Son Güncelleme: 18.04.2014-7:57

Gabriel Garcia Marquez hayatını kaybetti!Kolera Günlerinde Aşk ve Yüzyıllık Yalnızlık kitaplarıyla Türk edebiyatseverler arasında da bilinen dünyaca ünlü Nobel ödüllü yazar Gabriel Garcia Marquez tedavi gördüğü hastanede hayata gözlerini yumdu.

 Dünyaca ünlü yazar Gabriel Garcia Marquez, tedavi gördüğü hastanede 87 yaşında hayata veda etti.

Nobel ödüllü Kolombiyalı yazar bir süredir zatürre tedavisi görüyordu.

GABRIEL GARCIA MARQUEZ KİMDİR

Gabriel José de la Conciliación García Márquez (6 Mart, 1927) Kolombiyalı yazar, romancı. 1927’de Kolombiya'nın Aracataca kentinde doğdu. Büyükannesiyle büyükbabasının evinde ve teyzelerinin yanında büyüdü. Başkent Bogota’daki Kolombiya Ulusal Üniversitesi’nde başladığı hukuk ve gazetecilik öğrenimini yarım bıraktı. 1940’lardan başlayarak uzun yıllar gazetecilik yaptı. Öykü yazmaya 1940’ların sonlarında başladı.

Yayınlanan ilk önemli yapıtı Yaprak Fırtınası idi. 1961 de yayınlanan Albaya Mektup Yazan Kimse Yok adlı romanını, Hanım Ana’nın Cenaze Töreni(1962) adlı öykü kitabı ve Kötü Saatte(1962) izledi.

Yazar en tanınmış romanı Yüzyıllık Yalnızlık’ı(1967) Meksika’ya ilk gidişinde yazdı. Yüzyıllık Yalnızlık’taki bir bölümden etkilenerek yazdığı öykülerini İyi Kalpli Erendina(1972) adlı kitapta toplayan yazar daha sonra sırasıyla Mavi Bir Köpeğin Gözleri (1972), Başkan Babamızın Sonbaharı (1975), Kırmızı Pazartesi (1981), Kolera Günlerinde aşk (1985), Labirentindeki General (1989) yayınladı.

Yazarın Türkiye’de yayınlanan diğer kitapları arasında Bir Kayıp Denizci, Sevgiden Öte Sürekli Ölüm, Aşk ve Öbür Cinler, Şili de Gizlice, On İki Gezici Öykü ve Bir Kaçırılma Öyküsü sayılabilir.

İŞTE VEDA MEKTUBU

Gabriel Garcia Marquez'in ölmeden az önce tüm insanlığa hediye gibi bıraktığı Veda Mektubu internette

okunma rekorları kırıyor.

 İşte o mektup:

 

"Tanrı bir an için paçavradan bebek olduğumu unutup can vererek beni ödüllendirse, aklımdan geçen her şeyi

dile getiremeyebilirdim, ama en azından dile getirdiklerimi ayrıntısıyla aklımdan geçirir ve düşünürdüm.

Eşyaların maddi yönlerine değil anlamlarına değer verirdim. Az uyur, çok rüya görür, gözümü yumduğum her

dakikada, 60 saniye boyunca ışığı yitirdiğimi düşünürdüm. İnsan aşktan vazgeçerse yaşlanır. Başkaları

durduğu zaman yürümeye devam ederdim. Başkaları uyurken uyanık kalmaya gayret ederdim. Başkaları

konuşurken dinler, çikolatalı dondurmanın tadından zevk almaya bakardım. Eğer Tanrı bana birazcık can

verse, basit giyinir, yüzümü güneşe çevirir, sadece vücudumu değil, ruhumu da tüm çıplaklığıyla açardım.

Tanrım, eğer bir kalbim olsaydı nefretimi buzun üzerine kazır ve güneşin göstermesini beklerdim.

Gökyüzündeki aya, yıldızlar boyunca Van Gogh resimleri çizer, Benedetti şiirleri okur ve serenatlar söylerdim.

Gözyaşlarımla gülleri sular, vücuduma batan dikenlerinin acısını hissederek dudak kırmızısı taç

yapraklarından öpmek isterdim. Tanrım bir yudumluk yaşamım olsaydı… Gün geçmesin ki, karşılaştığım tüm

insanlara onları sevdiğimi söylemeyeyim. Tüm kadın ve erkekleri, en sevdiğim insanlar oldukları konusunda

birer birer ikna ederdim. Ve aşk içinde yaşardım. Erkeklere, yaşlandıkları zaman aşkı bırakmalarının ne

kadar yanlış olduğunu anlatırdım. Çünkü insan aşkı bırakınca yaşlanr. Çocuklara kanat verirdim. Ama

uçmayı kendi başlarına öğrenmelerine olanak sağlardım. Yaşlılara ise ölümün yaşlanma ile değil unutma ile

geldiğini öğretirdim. Ey insanlar! Sizlerden ne kadar da çok şey öğrenmişim. Tüm insanların, mutluluğun

gerçekleri görmekte saklı olduğunu bilmeden, dağların zirvesinde yaşamak istediğini öğrendim. Yeni doğan

küçük bir bebeğin, babasının parmağını sıkarken aslında onu kendisine sonsuza dek kelepçeyle mahkûm

ettiğini öğrendim. Sizlerden çok şey öğrendim. Ama bu öğrendiklerim pek işe yaramayacak. Çünkü hepsini bir

çantaya kilitledim. Mutsuz bir şekilde… Artık ölebilir miyim?"

Gabriel García Márquez, Nobel laureate writer, dies aged 87Colombian author became standard-bearer for Latin American letters after success of One Hundred Years of Solitude

Obituary: catalyst of boom in Latin American literatureGabriel García Márquez – a life in picturesFrom the archive: 1970 review of One Hundred Years of Solitude

Richard Lea  and Jo Tuckman in Mexico City The Guardian , Thursday 17 April 2014 23.18 BST

Gabriel García Márquez in Monterrey in 2007. Photograph: Tomas Bravo/Reuters

The Colombian Nobel laureate Gabriel García Márquez, who unleashed the worldwide boom in Spanish language literature and magical realism with his novel One Hundred Years of Solitude, died at the age of 87. He had been admitted to hospital in Mexico City on 3   April with pneumonia .Matching commercial success with critical acclaim, García Márquez became a standard-bearer for Latin American letters, establishing a route for negotiations between guerillas and the Colombian government, building a friendship with Fidel Castro and maintaining a feud with fellow literature laureate Mario Vargas Llosa that lasted more than 30 years.

Barack Obama said the world had lost "one of its greatest visionary writers", adding that he cherished an inscribed copy of One Hundred Years of Solitude, presented to him by the author on a visit to Mexico. "I offer my thoughts to his

family and friends, whom I hope take solace in the fact that Gabo's work will live on for generations to come."

Colombian president Juan Manuel Santos said yesterday via Twitter: "A thousand years of solitude and sadness at the death of the greatest Colombian of all time. Solidarity and condolences to his wife and family ... Such giants never die."

 García Márquez in Mexico City in March. Photograph: Edgard Garrido/ReutersJournalists gathered outside García Márquez's house in Mexico City in the hope that one of the family members who was reportedly at his side would emerge.

Mexican president Enrique Peña Nieto expressed sadness at the death of "one of the greatest writers of our time," in the name of Mexico, the novelist's adopted home. Chilean writer Luis Sepúlveda was quoted by the Mexican newspaper Reforma as saying that he was "the most important writer in Spanish of the 20th century", central to the Latin American literary boom that "revolutionised everything: the imagination, the way of telling a story, and the literary universe".

The Colombian singer Shakira wrote: "We will remember your life, dear Gabo, like a unique and unrepeatable gift, and the most original of stories."

Born in a small town near the northern coast ofColombia on 6 March 1927, García Márquez was raised by his grandparents for the first nine years of his life and began working as a journalist while studying law in Bogotá.

A series of articles relating the ordeal of a Colombian sailor sparked controversy and saw him travel to Europe as a foreign correspondent in 1955, the year in which he published his first work of fiction, the short novel Leaf Storm. Short stories and novellas with the realism of Hemingway as their inspiration followed, but after the publication of The Evil Hour in 1962 García Márquez found himself at an impasse.

Speaking to the Paris Review in 1981 he explained how he decided his writings about his childhood were "more political" than the "journalistic literature" he had been engaged with. He wanted to return to his childhood and the imaginary village of Macondo he had created in Leaf Storm, but there was "always something missing". After five years he hit upon the "right tone", a style "based on the way my grandmother used to tell her stories"."She told things that sounded supernatural and fantastic, but she told them with complete naturalness," García Márquez said. "When I finally discovered the tone I had to use, I sat down for 18 months and worked every day."

 García Márquez with a copy of his book One Hundred Years of Solitude in 1975. Isabel Steva Hernandez (Colita)/CorbisRight from the elliptical opening sentence – which finds Colonel Aureliano Buendía facing a firing squad and remembering the "distant afternoon" many years before when "his father took him to discover ice" – One Hundred Years of Solitude weaves together the misfortunes of a family over seven generations. García Márquez tells the story of a doomed city of mirrors founded in the depths of the Colombian jungle with the "brick face" his grandmother used to tell ghost stories, folk tales and supernatural legends.

The novel was an instant bestseller, with the first edition of 8,000 copies selling out within a week of its publication in 1967. Hailed by the Chilean poet Pablo Neruda as "perhaps the greatest revelation in the Spanish language since Don Quixote of Cervantes", One Hundred Years of Solitude went on to win literary prizes in Italy, France, Venezuela and beyond, appearing in more than 30 languages and selling more than 30m copies around the world. García Márquez forged friendships with writers such as Carlos Fuentes, Julio Cortazar and Vargas Llosa – a friendship that ended in the 1970s after Vargas Llosa floored the Colombian with a punch outside a Mexico City cinema.The Autumn of the Patriarch, which the author called a "poem on the solitude of power", followed in 1975. García Márquez assembled this story of the tyrannical leader of an unnamed Caribbean nation from a collage of dictators such as Franco, Perón, and Pinilla, and continued to draw inspiration from Latin America's history of conflict with a novella inspired by the murder of a wealthy Colombian, The Chronicle of a Death Foretold, published in 1981.

A year later he was awarded the Nobel prize for literature, the Swedish Academy hailing fiction "in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts". Speaking at the ceremony in Stockholm, he painted a picture of a continent filled with "immeasurable violence and pain" that "nourishes a source of insatiable creativity, full of sorrow and beauty"."Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination," he said, "for our crucial problem has been a lack of conventional means to render our lives believable."

 An undated photo of García Márquez. Photograph: APThe lives García Márquez next made "believable" were those of his parents, whose extended courtship was rendered into Love in the Time of Cholera, first published in 1985. The novel tells how a secret relationship between Florentino Arizo and Fermina Daza is thwarted by Fermina's marriage to a doctor trying to eradicate cholera, only to be rekindled more than 60 years later.

A 1989 account of Simón Bolívar's final months, The General in his Labyrinth, blended fact and fiction, but García Márquez never left journalism behind, arguing that it kept him "in contact with the real world". Clandestine in Chile, published in 1986, was an account of the Chilean filmmaker Miguel Littín, who returned to his homeland in secret to make a documentary about life under General Augusto Pinochet. News of a Kidnapping explored how prominent figures in Colombian society were snatched and imprisoned by Pablo Escobar's Medellín drug cartel.

He continued to write, publishing a memoir of his early life in 2002 and a novella that chronicles an old man's passion for an adolescent girl in 2004, but

never regained the heights of his earlier masterpieces. His brother Jaime García Márquez revealed in 2012that the writer was suffering from dementia after undergoing chemotherapy for lymphatic cancer first diagnosed in 1999.Asked in 1981 about his ambitions as a writer he suggested that it would be a "catastrophe" to be awarded the Nobel prize, arguing that writers struggle with fame, which "invades your private life" and "tends to isolate you from the real world".

"I don't really like to say this because it never sounds sincere," he continued, "but I would really have liked for my books to have been published after my death, so I wouldn't have to go through all this business of fame and being a great writer."

© 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved.

17 April 2014 Last updated at 20:10 GMT

Obituary: Gabriel Garcia Marquez

The Nobel Prize winner was possessed of a vivid imaginationContinue reading the main story

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Author Gabriel Garcia Marquez dies

Life in pictures: Gabriel Garcia Marquez

The vivid prose of Gabriel Garcia Marquez described a world as exotic as a Latin American carnival.

His backdrop was the poverty-stricken, and often violent world of his Colombian home where democracy never really found roots.

His stories wove imaginary magical elements into real life and were often set in a fictional village called Macondo.

A left-winger by conviction he was not slow to criticise the Colombian government and spent a great part of his life in exile.

Continue reading the main story

There is not a single line in all my work that does not have a basis in reality”

Gabriel Garcia MarquezGarcia Marquez was born in the town of Aracataca, Colombia on 6 March 1927.

Shortly after he was born, his father became a pharmacist and his parents moved away. The young Marquez was left in the care of his maternal grandparents.

Critical acclaimHis grandfather, a veteran of Colombia's Thousand Days' War and a liberal activist, gave him an awareness of politics.

At the Nobel Prize-giving ceremony in 1982From his grandmother, Garcia Marquez learned of superstitions and folk tales. She spoke to him of dead ancestors, ghosts and spirits dancing round the house, all in a deadpan style that he would later adopt for his greatest novel.

Garcia Marquez went to a Jesuit college and began to study law, but soon broke off his studies to work as a journalist.

In 1954, he was sent to Rome on a newspaper assignment, and since that time, lived mostly abroad, in Paris, Venezuela, and finally Mexico City.

He always continued his work as a journalist, even when his fiction increased in popularity.

Continue reading the main story

From the moment I wrote Leaf Storm I realised I wanted to be a writer and that nobody could stop me”

Gabriel Garcia MarquezFacilitator

Heavily influenced by the work of William Faulkner, Garcia Marquez wrote his first novel at the age of 23 although it took seven years to find a publisher.

Published in 1955, Leaf Storm and his three subsequent novels received critical acclaim from the literary establishment but did not reach the wide audience he would win with his later books.

In 1965, the idea for the first chapter of One Hundred Years of Solitude came to him while he was driving to Acapulco.

He turned the car, drove home and locked himself into his room with six packets of cigarettes a day for company.

He enjoyed the friendship of Fidel CastroHe emerged 18 months later to find his family $12,000 in debt. Fortunately, he had thirteen hundred pages of phenomenal best-selling text in his hands.

The novel's first printing in Spanish sold out within a week, and during the next thirty years One Hundred Years of Solitude sold more than twenty million copies and was translated into more than thirty languages.

The New York Times called it the first piece of literature since the Book of Genesis that should be required reading for the entire human race.

Continue reading the main story

A novelist can do anything he wants so long as he makes people believe in it”

Gabriel Garcia MarquezRealityFollowing its publication, Garcia Marquez was asked to act as a facilitator in negotiations between the Colombian government and a number of guerrilla organisations including Farc and ELN.

He also became friends with the Cuban leader Fidel Castro, a relationship that Garcia Marquez insisted was based on books.

"Fidel is a very cultured man," he said in an interview. "When we're together we talk about literature."

Garcia Marquez married Mercedes in 1958In 1982 Garcia Marquez received the Nobel Prize for Literature. He received praise for the vibrancy of his prose and the rich language he used to convey his overflowing imagination.

Some saw his work as deliberate exaggeration, a supernatural, mythical approach he effected to escape the unrest of his country.

He said himself that "surrealism came from the reality of Latin America," and such works as The General in his Labyrinth and The Autumn of the Patriarch illustrate his growing political opposition to the increasing violence in Colombia.

Garcia Marquez's place in the ranks of literary masters was further assured by the publication of another best-selling work, Love in the Time of Cholera in 1986.

In the story of two couples, the younger based on the love affair between his own parents.

The Mexican novelist, Carlos Macias described Garcia Marquez as perhaps the best writer in Spanish since Cervantes.

"He is one of those rare artists who succeed in chronicling, not only a nation's life, culture and history, but also those of an entire continent."

More on This Storyhttp://www.bbc.com/news/world-latin-america-26893514

Author Gabriel Garcia Marquez diesCOMMENTS   (14)

Nick Higham looks back at the life and career of Gabriel Garcia MarquezContinue reading the main story

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Nobel prize-winning Colombian author Gabriel Garcia Marquez has died in Mexico aged 87, his family says.

Garcia Marquez was considered one of the greatest Spanish-language authors, best known for his masterpiece of magical realism, One Hundred Years of Solitude.

The 1967 novel sold more than 30 million copies and he was awarded the Nobel Prize for Literature in 1982.

Garcia Marquez had been ill and had made few public appearances recently.

He achieved fame for pioneering magical realism, a unique blending of the marvellous and the mundane in a way that made the extraordinary seem routine.

With his books, he brought Latin America's charm and teaming contradictions to life in the minds of millions of people.

Continue reading the main story

Your life (...) will be remembered by all of us as a unique and singular gift”

ShakiraColombian pop star'Greatest Colombian'

"Gabriel Garcia Marquez has died," a spokeswoman for the family, Fernanda Familiar, said on Twitter.

"[His wife] Mercedes and her sons, Rodrigo and Gonzalo, have authorised me to provide the information. Such deep sadness," she added.

Colombian President Juan Manuel Santos also took to Twitter to pay tribute to the author.

"One Hundred Years of Solitude and sadness for the death of the greatest Colombian of all time," he wrote.

English novelist and screenwriter Ian McEwan: "He really was a one-off"US President Barack Obama said the world had "lost one of its greatest visionary writers - and one of my favourites from the time I was young".

Former US President Bill Clinton also said: "I was always amazed by his unique gifts of imagination, clarity of thought, and emotional honesty. I was honoured to be his friend and to know his great heart and brilliant mind for more than 20 years."

http://www.bbc.com/news/world-latin-america-26893514

Bill Clinton said Garcia Marquez had "captured the pain and joy of our common humanity"

Poor healthThe cause of Garcia Marquez's death was not immediately known but he was recently hospitalised for a lung and urinary tract infection in Mexico City.

He was sent home last week but his health was said to be "very fragile" because of his age.

The BBC's Will Grant in Mexico City says his loss will be particularly felt in his native Colombia but in Mexico too, which for more than 30 years became his adopted home.

Mexican President Enrique Pena Nietotweeted: "On behalf of Mexico, I express sorrow over the death of one of the greatest writers of our time."

Colombian pop star Shakira said "Gabo", as the author was affectionately known, would "always be in my heart".

"Your life, dear Gabo, will be remembered by all of us as a unique and singular gift," the singer said.

Peruvian Nobel prize-winning author Mario Vargas Llosa called him a "great writer".

"His works gave literature great reach and prestige. His novels will survive and will continue to find new readers everywhere," he told Peruvian media.

Gabriel Garcia Marquez's other works include Love in the Time of Cholera, Chronicle of a Death Foretold and The General in His Labyrinth.

ControversyThe novelist was also an accomplished journalist whose reporting shone in his work News of a Kidnapping.

The non-fiction book recounted high-profile abductions by the Medellin drug cartel run by Pablo Escobar, a notorious Colombian drug lord who died in 1993.

Garcia Marquez's friendship with the former Cuban President, Fidel Castro, sparked some controversyThe novelist was at times a political figure too.

His friendship with the former Cuban President Fidel Castro sparked some controversy among literary and political circles in Latin America.

But he insisted their friendship was based on books.

"Fidel is a very cultured man," he said in an interview. "When we're together we talk about literature."

Unlike other authors in the region, his work transcended Latin America with One Hundred Years of Solitude, which was translated into more than 30 languages.

The Chilean poet and Nobel Laureate Pablo Neruda called the novel "the greatest revelation in the Spanish language since Don Quixote", the 17th-century masterpiece by Spain's Miguel de Cervantes.

http://www.bbc.com/news/world-latin-america-27073911

L'écrivain colombien Gabriel Garcia Marquez est mortLe Monde.fr | 17.04.2014 à 22h20 • Mis à jour le 18.04.2014 à 07h17

Affectueusement surnommé « Gabo » dans toute l'Amérique latine, le Colombien Gabriel Garcia Marquez, Prix Nobel de littérature 1982, l'un des plus grands écrivains du XXe siècle, est mort à son domicile de Mexico jeudi 17 avril. Il était âgé de 87 ans. Son œuvre a été traduite dans toutes les langues ou presque, et vendue à quelque 50 millions d'exemplaires.

En 1999, la nouvelle s'était répandue qu'un cancer lymphatique serait sur le point de l'abattre, plongeant déjà ses lecteurs et admirateurs dans l'inquiétude. Tous les journaux de la planète rédigèrent alors sa nécrologie à la hâte, bientôt remballée dans les tiroirs. Double chance, pour lui et pour tous, car cela permit à Gerald Martin, britannique et professeur de littérature, de publier une biographie exhaustive, Gabriel Garcia Marquez, une vie (Grasset, 2009, édition originale en anglais chez Bloomsbury, 2008). Rétabli, mais victime d'une mémoire quelque peu chancelante, l'auteur de Cent ans de solitude avait disparu de toute vie publique ces dernières années.

Aîné de onze enfants, Gabriel José de la Concordia Garcia Marquez est né le 6 mars 1927, à Aracataca, un village perdu entre les marigots et les plaines poussiéreuses de la côte caraïbe colombienne. Son père y est télégraphiste. Dans l'œuvre de Gabo, Aracataca deviendra Macondo, un endroit mythique mais réel, à la différence du Yoknapatawpha County de William Faulkner ou de la ville fictive de Santa Maria de Juan Carlos Onetti. L'espagnol sud-américain a fait de «macondiano » un adjectif pour décrire l'irrationnel du quotidien sous ces latitudes. Gerald Martin explique l'importance qu'eut pour le futur écrivain son village et en particulier sa maison : « pleine de monde - grands-parents, hôtes de passage, serviteurs, indiens -, mais également pleine de fantômes » (celui de sa mère absente en particulier).

INFLUENCE LIBÉRALE

Juste après la naissance de Gabriel, son père décide de devenir pharmacien, en autodidacte. En 1929, il quitte Aracataca en compagnie de sa femme. Le garçon sera élevé par ses grands-parents, dans une maison transformée aujourd'hui en musée. Sa formation intellectuelle ainsi

qu'un certain sens de la démesure lui viennent du colonel Marquez, son grand-père libre-penseur qui, pour meublerl'ennui d'un temps immobile, lui ressassait inlassablement ses souvenirs de la guerre des Mille Jours : une dévastatrice guerre civile qui, entre 1899 et 1902 opposa le camp « libéral » (dont il faisait partie) et celui des « conservateurs », et se solda par la victoire de ces derniers.

A ce « Papalelo », comme il le surnomme, le futur écrivain doit aussi les fondements de sa conscience politique et sociale. Le colonel faisait en effet partie des personnalités colombiennes qui s'étaient élevées contre le « massacre des bananeraies » : en décembre 1928, des centaines d'ouvriers agricoles en grève (1 500 selon certaines sources) avaient été tués par l'armée colombienne, sous la pression des Etats-Unis qui menaçaient d'envahir le pays avec leur marines si le gouvernement n'agissait pas pour protéger les intérêts de la compagnie américaine United Fruit. Dans Cent ans de solitude, son œuvre majeure, l'écrivain retrace sous forme de fiction cet épisode sanglant. 

A huit ans, il part rejoindre ses parents qui l'enverront en pension chez les jésuites dans la ville de Baranquilla, puis à Bogota. Il publie ses premiers écrits dans la revue du collège. Baccalauréat en 1946, études de droit- vite abandonnées - et premières collaborations dans la presse : c'est en tant que journaliste que Garcia Marquez entre dans la vie publique. Lectures classiques : Kafka, Joyce, Virginia Woolf, Faulkner, Hemingway… Mais les influences ne jouent que sur la forme. Le fond, ce sera l'impalpable, le culte du surnaturel, des fantômes et des prémonitions transmis par sa grand- mère galicienne quand elle se levait la nuit pour lui raconter les histoires les plus extraordinaires de revenants, sorcières et nécromanciennes. Ainsi Marquez s'insère-t-il naturellement dans un courant littéraire hispanique et latino-américain incarné par Alvaro Cunqueiro, Miguel Angel Asturias et Alejo Carpentier: le réalisme magique ou le réel merveilleux.

En 1955, le jeune journaliste découvre la vérité sur la catastrophe du Caldas : ce destroyer de la marine colombienne, le pont surchargé de marchandises de contrebande, avait perdu huit hommes d'équipage dans la mer des Caraïbes lorsque les câbles de cette cargaison illicite avaient lâché. Les officiers avaient prétendu avoir affronté une terrible tempête. Après cent-vingt heures d'entretiens avec le seul rescapé, Garcia Marquez publie une série de quatorze articles, rédigés à la première personne et signés par le marin, qui seront repris en 1970 dans un livre sous le titre Journal d'un naufragé. Les lecteurs de EL Espectador s'arrachent le récit.

Craignant les représailles du régime militaire alors au pouvoir, la direction du quotidien envoie Garcia Marquez en Europe.

FLN ET RIDEAU DE FER

Il arrive à Paris en pleine guerre d'Algérie, fréquente les milieux du FLN et, pour délit de faciès, s'expose ainsi aux « ratonnades » alors pratiquées par la policefrançaise. Jeune homme de gauche, proche des communistes, il effectue des voyages dans les pays de l'Est. Malgré ses préférences politiques, ses visites lui laissent une impression plutôt sinistre, consignée dans 90 jours derrière le rideau de fer (1959). Lorsque le dictateur Rojas Pinilla interdit El Espectador, le journaliste Garcia Marquez se retrouve sans travail. Il écrit et survit, en attendant la gloire et l'argent.

Sa compagne d'alors fait des ménages, lui ramasse papiers, journaux et bouteilles vides pour les vendre. Ces années impécunieuses trouveront leur écho, en 1961, dans Pas de lettre pour le colonel. L'année suivante paraîtront le roman La Mauvaise heure et Les Funérailles de la grande Mémé, un recueil de huit nouvelles : sortes de « moyens métrages » et, en quelque sorte, d'esquisses préfigurant ce que sera, cinq ans plus tard, Cent ans de solitude.

Entretemps, Garcia Marquez est revenu en Amérique Latine. Il y a épousé, en 1958, son amour d'adolescence Mercedes Barcha. Jamais ils ne se quitteront.

Deux fils sont nés de cette union : Rodrigo qui, après des études d'histoire médiévale à Harvard, deviendra réalisateur de cinéma et Gonzalo, qui sera enseignant à Paris. En 1961, Garcia Marquez, qui travaille pour l'agence de presse cubaine Prensa Latina, effectue en journaliste et en ami du nouveau régime castriste une première visite à Cuba. Puis il se rend à New York en attente d'un visa pour le Canada, où l'agence l'a chargé d'ouvrir un bureau. Mais l'affaire tarde, ne se réalise pas et le journaliste écrivain, qui s'ennuie, embarque en bus sa petitefamille pour le Mexique, le pays où il passera la plus grande partie de sa vie.

LE CHOC DE « CENT ANS DE SOLITUDE »

C'est quelques années plus tard qu'il va, d'un seul coup, accéder définitivement à la célébrité mondiale. Dès sa publication en 1967, à Buenos Aires, l'engouement rencontré par Cent ans de solitude (publié en français par Le Seuil en 1968) est extraordinaire. Tous les lecteurs d'Amérique Latine connaissent de mémoire sa première phrase : « Bien des années plus tard,

face au peloton d'exécution, le colonel Aureliano Buendia devait se rappeler ce lointain après-midi au cours duquel son père l'emmena faire connaissance avec la glace. « A la fois épopée familiale, roman politique et récit merveilleux, c'est « le plus grand roman écrit en langue espagnole depuis Don Quichotte », selon le poète chilien Pablo Neruda. L'écrivain y déploie, sans une seconde d'enlisement ni de distraction, son langage puissant, à la fois exubérant et parfaitement maîtrisé.

Depuis la fondation du village fictif de Macondo, se déploie, sur six générations, l'histoire de la famille Buendia, une sorte de dynastie dont le destin est lié à la chronique mythologique du continent. Toute l'Amérique latine se reconnaîtra bientôt dans cette saga héroïque et baroque. Cinq ans après sa sortie, Cent ans de solitude aura déjà été publié dans vingt-trois pays et se sera vendu à plus d'un million d'exemplaires rien qu'en langue espagnole. On sait que Garcia Marquez fut sincèrement abasourdi par le succès de ce livre. Il l'attribua au fait qu'il était d'une lecture facile, avec son enchaînement de péripéties fantastiques. Toujours est-il que son impact contribua à la notoriété internationale des autres écrivains du « boom latino-américain », de Juan Rulfo à Mario Vargas Llosa, en passant par Jorge Luis Borjes, Julio Cortazar et Carlos Fuentes.

LA « GUERRE DE L'INFORMATION »

Garcia Marquez, meurtri et révolté par la dictature installée au Chili depuis le coup d'Etat du général Pinochet en septembre 1973, se refuse, pour un temps, à écrirede nouveaux romans et préfère s'engager dans ce qu'il appelle « la guerre de l'information ». Il contribue dans son pays à la création d'une revue indépendante,Alternativas, fustige le capitalisme et l'impérialisme, prend la défense du tiers-monde et soutient publiquement, sans états d'âme apparents, le régime de Fidel Castro.

En 1982, les jurés de Stockholm lui décernent le prix Nobel. Les rues de son village se couvrent de banderoles: « Aracataca, capitale mondiale de la littérature». Il assistera à la cérémonie vêtu du « liqui-liqui », le costume blanc traditionnel de la côte caraïbe, au lieu du smoking protocolaire. Son discours de réception est un fougueux plaidoyer pour l'Amérique latine dont il décrit la « solitude » face « à l'oppression, au pillage et à l'abandon », alors même que les dictatures s'y multiplient.

Son évocation de « cette patrie immense d'hommes hallucinés et de femmes historiques, dont l'entêtement sans fin se confond avec la légende » - résonne dans tout le continent. Après le Nobel, Garcia Marquez tourne le dos à Macondo et à l'univers prodigieux de son enfance. Désormais, sa production se situera, pour l'essentiel, à mi chemin entre le journalisme, l'histoire et le roman populaire.

« LES ROMANCIERS NE SONT PAS DES INTELLECTUELS »

Plus tard, ni L'Amour au temps du choléra (1985), ni Le Général dans son labyrinthe (1989), ni sa dernière fiction Mémoires de mes putains tristes (2004), ne remporteront le succès des œuvres précédentes. Qu'importe. Gabo est devenu une référence. On le sollicite - notamment à plusieurs reprises comme médiateur lors des pourparlers de paix engagés avec la guérilla colombienne -, on le consulte sur tous les sujets. Garcia Marquez n'est pas dupe. « Je suis un romancier, disait-il, et nous, les romanciers, ne sommes pas des intellectuels, mais des sentimentaux, des émotionnels. Il nous arrive à nous, Latins, un grand malheur. Dans nos pays, nous sommes devenus en quelque sorte la conscience de notre société. Et voyez les désastres que nous provoquons. Ceci n'arrive pas aux Etats-Unis, et c'est une chance. Je n'imagine pas une rencontre au cours de laquelle Dante parlerait d'économie de marché. »

Au delà de la politique et de la mythologie, Garcia Marquez n'aura jamais cessé d'élaborer un immense discours sur la mort et sur la solitude, que ce soit dansLes Funérailles de la Grande Mémé, L'Automne du patriarche, Chronique d'une mort annoncée et, bien entendu, Cent ans de solitude qui porte sur la fin d'une dynastie et d'une civilisation. « Je pense évidemment à la mort », avait-il déclaré. « Mais peu, aussi peu que possible. Pour en avoir moins peur, j'ai appris à vivreavec une idée très simple, très peu philosophique : brusquement tout s'arrête et c'est le noir absolu. La mémoire est abolie. Ce qui me soulage et m'attriste, car il s'agira là de la première expérience que je ne pourrai pas raconter. »

Lire l'intégralité de notre nécrologie de Gabriel Garcia Marquez dans l'édition abonnés du Monde.fr

Ramon Chao, avec Florence Noiville et Marie Delcas

http://www.lemonde.fr/disparitions/article/2014/04/17/l-ecrivain-gabriel-garcia-marquez-est-mort_4401388_3382.html

Gabriel García Márquez, Nobel Prize-winning explorer of myth and reality, dies at 87

View Photo Gallery —   Nobel laureate Gabriel Garcia Marquez dies at 87: Gabriel Garcia Marquez, the master of magical

realism whose rich and allusive explorations of myth and reality in Latin America won him the Nobel Prize for literature and

a place among the greatest writers of the 20th century, died April 17 at his home in Mexico City. He was 87.

By Marcela Valdes, Friday, April 18, 12:03 AM E-mail the writer

Gabriel García Márquez, the Nobel Prize-winning Colombian writer who immersed the world in the

powerful currents of magic realism, creating a literary style that blended reality, myth, love and loss in a

series of emotionally rich novels that made him one of the most revered and influential writers of the 20th

century, died April 17 at his home in Mexico City. He was 87.

The Associated Press reported his death. In July 2012, his brother Jaime García Márquez announced that

the author had dementia.

Video

The Nobel laureate and Colombian author who put magical realism on the literary map Gabriel Garcia Marquez has passed away

Thursday at his home in Mexico City.

Notable deaths of 2014

A look at those who have died this year.

Mr. García Márquez, who was affectionately known throughout Latin America as “Gabo,” was a journalist,

novelist, screenwriter, playwright, memoirist and student of political history and modernist literature.

Through the strength of his writing, he became a cultural icon who commanded a vast public following and

who sometimes drew fire for his unwavering support of Cuban leader Fidel Castro.

In his novels, novellas and short stories, Mr. García Márquez addressed the themes of love, loneliness,

death and power. Critics generally rank “One Hundred Years of Solitude” (1967), “The Autumn of the

Patriarch” (1975) and “Love in the Time of Cholera” (1985) as his masterpieces.

“The world has lost one of its greatest visionary writers — and one of my favorites from the time I was

young,” President Obama said in a statement, calling the author “a representative and voice for the people

of the Americas.”

Mr. García Márquez established his reputation with “One Hundred Years of Solitude,” an epic novel about

multiple generations of the Buendía family in the fantastical town of Macondo, a lush settlement based on

the author’s birthplace on the Caribbean coast of Colombia. The novel explored social, economic and

political ideas in a way that captured the experience of an entire continent, but it also included supernatural

elements, such as a scene in which a young woman ascends to heaven while folding the family sheets.

By fusing two seemingly disparate literary traditions — the realist and the fabulist — Mr. García Márquez

advanced a dynamic literary form, magic realism, that seemed to capture both the mysterious and the

mundane qualities of life in a decaying South American city. For many writers and readers, it opened up a

new way of understanding their countries and themselves.

In awarding Mr. García Márquez the literature prize in 1982, the Nobel committee said he had created “a

cosmos in which the human heart and the combined forces of history, time and again, burst the bounds of

chaos.”

“One Hundred Years of Solitude” has been translated into more than 35 languages and has sold, by some

accounts, more than 50 million copies. The Chilean poet and Nobel laureate Pablo Neruda described the

book as “the greatest revelation in the Spanish language since the Don Quixote of Cervantes.”

Mr. García Márquez parlayed his literary triumphs into political influence, befriending international

dignitaries such as President Bill Clinton and François Mitterrand, the late president of France. The

celebration for Mr. García Márquez’s 80th birthday was attended by five Colombian presidents and the

king and queen of Spain.

Yet few knew the penury the author endured before achieving fame. “Everyone’s my friend since ‘One

Hundred Years of Solitude,’ ” Mr. García Márquez once told a brother, “but no one knows what it cost me

to get there.”

From ‘the House’ to the world

Gabriel José García Márquez was born March 6, 1927, in Aracataca, a town near Colombia’s Caribbean

coast. He was the eldest child of a local beauty and a telegraph-operator-turned-itinerant-pharmacist —

some called him a “quack doctor” — but Mr. García Márquez was raised mostly by his maternal

grandparents, the pragmatic Col. Nicolás Márquez Mejía and the superstitious Tranquilina Iguarán Cote.

Mr. García Márquez later called the colonel, a veteran of two civil wars, “the most important figure in my

life” and “my umbilical cord with history and reality.” They lived in a rambling complex of rooms and

terraces, which Mr. García Márquez would often call simply “the House.”

The author had a charmed yet melancholy childhood. Aracataca once flourished under the banana business

of the U.S.-based United Fruit Co. but slowly declined after December 1928, when more than 1,000

striking banana workers in nearby Ciénaga were massacred by the Colombian army. Macondo, the town in

“One Hundred Years of Solitude,” was named after a United Fruit plantation.

Eventually, Mr. García Márquez was reunited with his parents and siblings in Sucre, a river settlement in

Colombia that became the setting for some of his darkest books.

He escaped by winning a scholarship to a secondary school near Bogotá, the capital of Colombia. After

graduating in 1946, he enrolled in law school at the National University of Colombia. Poor and rail-thin, he

asserted himself through his literary prowess. Neglecting his classes, he devoted himself to reading and

writing, publishing short fiction in the Bogotá newspaper El Espectador.

His literary endeavors were interrupted when the populist leader Jorge Eliécer Gaitán was assassinated in

1948. The killing led to days of rioting in Bogotá and marked the beginning of a period of political

repression known as “La Violencia.” Within about 10 years, between 200,000 and 300,000 Colombians

were killed.

When the riots caused the law school to close, Mr. García Márquez moved to Cartagena, where he launched

a career in journalism. Later he would say that the assassination greatly influenced his understanding of

politics.

During these years, the author was often so poor that he had no place to live. In Barranquilla, just up the

coast from Cartagena, he found his first apartment: a cheap room in a brothel nicknamed “the Skyscraper.”

He said this was the perfect environment for a writer — quiet during the day, the scene of a party every

night.

It was not until 1954, when he joined the staff of the El Espectador, that he gained financial stability. The

next year, he published his first novel, “Leaf Storm,” a tale about the burial of a reclusive doctor in

Macondo. It went virtually unnoticed.

In 1955, he became El Espectador’s European correspondent, visiting the Eastern Bloc and studying at the

Experimental Film Center of Cinematography in Rome between deadlines. He was on assignment in Paris

when his newspaper was closed by the Colombian government.

Rather than return home, Mr. García Márquez remained in the French capital for two years, living hand to

mouth while completing “No One Writes to the Colonel,” a glittering short novel about a war veteran who

would rather starve than sell his fighting rooster. The story, published in 1961, was influenced by

Hemingway’s “The Old Man and the Sea” and Italian director Vittorio De Sica’s neorealist films, such as

“Umberto D.”

After returning to South America in 1957, Mr. García Márquez held a series of journalism jobs. He married

his longtime fiancée, Mercedes Barcha, in 1958. He moved to Mexico in 1961, beginning one of the most

disheartening and exhilarating periods of his life.

Mexican breakthrough

When he arrived in Mexico City, Mr. García Márquez had few friends and no prospects of work. He aimed

for the movie industry, but when his family ran out of food, he took a job editing a women’s magazine and

a crime magazine on the condition that his name would never appear in either. Later he landed jobs as a

scriptwriter and as an advertising copywriter.

In his mid-30s, his ability to write fiction appeared to have dried up. His previous novel had been written in

Paris, and he couldn’t seem to finish another. According to the Uruguayan critic Emir Rodríguez Monegal,

who first met Mr. García Márquez around this time, he was “a tortured soul, an inhabitant of the most

exquisite hell: that of literary sterility.”

Yet several important events occurred during his creative drought. First, Mr. García Márquez began reading

the original magic realists: Mexican Juan Rulfo, Cuban Alejo Carpentier and Guatemalan Miguel Ángel

Asturias, who would later win the Nobel Prize in literature. Next, he discovered the sophisticated Latin

American novels that were being published in the movement known as “El Boom,” including those by the

Mexican writer Carlos Fuentes, who embraced Mr. García Márquez as part of the group despite his lack of

recent work.

http://www.washingtonpost.com/world/the_americas/gabriel-garcia-marquez-nobel-prize-winning-explorer-of-myth-and-reality-dies-at-87/2014/04/17/a67b2f9c-c66b-11e3-8b9a-8e0977a24aeb_story.html

18. April 2014, 00:03 Uhr

Zum Tode von Gabriel García Marquez

Der Zauberer von MacondoVon Hans-Jost Weyandt

Er erneuerte die Weltliteratur: Mit Phantasie und Poesie, mit Witz und Rhythmusgefühl schuf Gabriel García Márquez seine überwältigende Version des Magischen Realismus. Er begeisterte damit nicht nur Kritiker, sondern auch ein Massenpublikum.

Sie nannten ihn "Gabo", und das war vielleicht die schönste Anerkennung für diesen mit Preisen, Ehrentiteln und Superlativen überreich dekorierten Autor, von dem es hieß, er sei die weltliterarische Stimme Lateinamerikas, die Ikone des Magischen Realismus, der beliebteste Schriftsteller seit Cervantes in der spanischsprachigen Welt, wenn nicht der "Größte von allen".

Gabo: Was für europäische Ohren kumpelhaft klingen mag, war eher ein Ausdruck der liebevollen Anerkennung für einen Erzähler, der das große Publikum begeistern konnte. Nicht von ungefähr erinnert Gabo an die Künstlernamen, mit denen sich südamerikanische Kicker schmücken; und wie jene bezauberte Gabriel García Márquez mit seinem trickreichen Talent, wider alle Wahrscheinlichkeit und Widrigkeiten das Spiel leicht erscheinen zu lassen und sich selbst aus den verzwicktesten Situationen mit einem eleganten Dreh befreien zu können.

Wo auch immer er stand auf dem literarischen Feld, schien er sich im Mittelpunkt des Spiels zu befinden: ein mit phänomenaler Phantasie, Spielwitz und Rhythmusgefühl begabter Gestalter großer erzählerischer Entwürfe, schon zu seinen Glanzzeiten ein legendäres Idol.

Die Erfahrung der Isolation - ein Lebensthema

Dabei kam er selbst aus dem Abseits. In Aracataca, einem von Bananenplantagen umgebenen Kaff nahe der nordkolumbianischen Küste, wurde Gabriel García Márquez 1927 als erstes von elf Kindern in die Familie eines Telegrafisten geboren. Die Erfahrung der Isolation, der individuellen, familiären, aber auch der kulturellen und geschichtlichen, sollte ein Lebensthema werden. Bereits als Achtjähriger verlässt er den Geburtsort, den er später als Macondo zum imaginären Zentrum seines literarischen Kosmos machen sollte: von Gott und der Geschichte zwar verlassen, doch voller Erinnerungen an das kindliche Staunen über den phantastischen Hokuspokus aus karibischen Märchen, Wunderglauben und sensationellen Begebenheiten, der im tropischen Klima prächtig gedieh und einen in der schwülen Atmosphäre der Stagnation, des Wartens kirre machen konnte.

Irgendeiner wartet immer bei García Márquez, und wie dabei ein Leben verkümmern kann, hat er in vielen Variationen erzählt: In "Der Oberst hat niemand, der ihm schreibt" (1961) hofft ein alter Soldat vergeblich 56 Jahre lang auf seinen Pensionsbescheid. Er ist ein Vergessener wie so viele von García Márquez' Figuren. Und selbst wenn die berühmten "51 Jahre, neun Monate und vier Tage", die Florentino Ariza damit verbringt, die Leidenschaft für die Frau seines Lebens zu konservieren, in ein Happy End münden, so nur, um in die Isolation

der romantischen Liebe zu führen, die das alte Paar zu Aussätzigen macht ("Die Liebe in den Zeiten der Cholera", 1985) .

Die Ohnmacht des Wartens geht einher mit der Vergeblichkeit des Handelns: "Der Herr Oberst Aureliano Buendía zettelte zweiunddreißig bewaffnete Aufstände an und verlor sie allesamt. Er hatte von siebzehn verschiedenen Frauen siebzehn verschiedene Söhne, die einer nach dem anderen in einer einzigen Nacht ausgerottet wurden …", heißt es in "Hundert Jahre Einsamkeit", und in dieser knappen Bilanz eines offensichtlich sehr regen Lebens schnurrte der trostlose Zustand Lateinamerikas zusammen in einem Satz, der klang wie ein Witz.

Ein Buch wie eine Befreiung

"Hundert Jahre Einsamkeit" erschien 1967, in dem Jahr, als Ernesto "Che" Guevara in Bolivien kläglich scheiterte, und konnte gelesen werden als Absage an jede sozialrevolutionäre Utopie. Denn García Márquez, der Linke und Freund Fidel Castros, erzählte die Geschichte Macondos von der Gründung bis zum Untergang als geschichtsmythologische Farce, in der die Sippe der Buendías unermüdlich in der Weltabgeschiedenheit des Dschungels alle Fehler wiederholt, von denen die Bibel und die Geschichtsbücher berichten, um ihrem Schicksal zu entkommen, das längst vorgeschrieben ist. Doch aus der "Stadt der Spiegel (oder der Spiegelungen)" gibt es keinen Ausweg, die Geschichte dreht sich im Kreis, versinnbildlicht in jenem geringelten Schweineschwanz, mit dem der letzte Buendía als Resultat unermüdlich inzestuöser Aktivitäten geboren wird.

Das Buch wirkte wie eine Befreiung. Was politisch nicht zu gelingen schien, das zauberte dieser magische Realist atemberaubend simpel aus dem Hut seiner Imagination: die lethargische Melancholie einer nach Jahrhunderten der Ausbeutung und Unterdrückung erschöpften Weltgegend zu transformieren in die Vitalität einer sinnlich hoch aufgeladenen Dichtung. García Márquez zeichnete die Buendías zwar als borniert beschränkte Machos an der Grenze zur Karikatur, doch er gab ihnen zugleich die Würde des selbstbestimmten Handelns zurück, und ihrem Aufbegehren gegen das Scheitern verlieh er eine tragikomische Größe.

Der Roman wurde ein Welterfolg. Auch wenn manch einer die Artistik der bilderreichen Sprachströme im "Herbst des Patriarchen" (1975) vorziehen mag, bildet "Hundert Jahre Einsamkeit" den Höhepunkt eines großartigen Werks, und sein Autor erschien, zumal der europäischen Kritik, wie ein Erneuerer der Literatur: ein kolumbianischer Autor aus einem unbekannten Winkel der Karibik, der, berstend vor erzählerischer Vitalität, die müden Nachlassverwalter der Moderne davon überzeugte, dass an den Enden der Parabeln der Anfang des Fabelhaften zu finden sei. Und er präsentierte sich dabei nicht als naiver Exot, sondern als einer, der vom anderen Ende der Welt aus die Geschichte der Literatur noch einmal gelesen hatte, um aus entgegengesetzter Perspektive seine große Erzählung zu formen.

Bei aller Begeisterung für Träume - der Erzähler blieb Realist

Die Begeisterung für García Márquez war nicht frei von romantisch-exotischen Projektionen und irrwitzigen Erlöserphantasien, und als er, nach dem Nobelpreis 1982 auf dem Höhepunkt seines Ruhms, einen Roman über den südamerikanischen Freiheitskämpfer Simon Bolivar ankündigte, galt er als mächtigste Stimme des Subkontinents. Doch García Márquez widerstand jeder Versuchung, mit der historischen Figur die alte Vision von der Befreiung des einheitlichen Lateinamerikas neu zu beleben, denn auch Bolivar, der "General in seinem

Labyrinth" (1989), hatte keinen Ausweg gefunden. Bei aller Sympathie, auch Begeisterung für die Träume, die Gabriel García Márquez mit seinen Figuren teilte, blieb er als Erzähler doch immer ein Realist, der sein Handwerk als Zeitungsreporter gelernt hatte. Und er, der einmal schrieb, das Leben sei das, "was wir erinnern und wie wir erinnern, um davon zu erzählen", wusste, dass keine noch so schöne Vision es mit der Magie der Erinnerung aufnehmen kann.

Gabriel García Márquez, Reporter, Drehbuchautor, Erzähler und Verfasser eines großen Romanwerks, das in Teilen noch auf die Übersetzung ins Deutsche wartet, ist am Donnerstag im Alter von 87 Jahren in Mexiko-Stadt gestorben.

URL: http://www.spiegel.de/kultur/literatur/gabriel-garcia-marquez-

literaturnobelpreistraeger-gestorben-nachruf-a-965174.htmlMehr auf SPIEGEL ONLINE:

Gabriel García Márquez ist tot: "Tausend Jahre Einsamkeit und Trauer" http://www.spiegel.de/fotostrecke/gabriel-garcia-marquez-ist-tot-fotostrecke-113625.html

Literaturnobelpreisträger: Schriftsteller Gabriel García Márquez ist tot (17.04.2014) http://www.spiegel.de/kultur/literatur/gabriel-garcia-marquez-literaturnobelpreistraeger-ist-tot-a-965173.html

Literaturnobelpreisträger: García Márquez aus Krankenhaus entlassen (09.04.2014) http://www.spiegel.de/kultur/kino/gabriel-garcia-marquez-aus-krankenhaus-entlassen-a-963365.html

Kolumbianischer Schriftsteller: Literaturnobelpreisträger García Márquez im Krankenhaus (03.04.2014)http://www.spiegel.de/kultur/literatur/gabriel-garcia-marquez-literaturnobelpreistraeger-im-krankenhaus-a-962498.html

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 Kultur17. April 2014 22:15 KolumbienLiteraturnobelpreisträger García Márquez ist totEr verzauberte die Welt mit Werken wie "Hundert Jahre Einsamkeit" und "Die Liebe in Zeiten der Cholera". Nun ist Gabriel García Márquez, der große Schriftsteller Lateinamerikas, im Alter von 87 Jahren gestorben.

Unter den spanischsprachigen Schriftstellern war er einer der allergrößten. Seine Romane prägten das Südamerikabild von Generationen und machten seine kolumbianische Heimat über alle Kontinente bekannt. Nun ist der Meister des Magischen Realismus tot. Der Literaturnobelpreisträger Gabriel García Márquez ist am Donnerstag im Alter von 87 Jahren gestorben, wie die staatliche Kulturbehörde Conaculta bestätigte. Zuvor hatten mexikanische und kolumbianische Medien den Tod des Autors von "Hundert Jahre Einsamkeit" vermeldet.

Der kolumbianische Präsident Juan Manuel Santos zeigte sich schockiert. "Tausend Jahre Einsamkeit und Trauer angesichts des Todes des größten Kolumbianers aller Zeiten", schreibt der Staatschef auf Twitter. "Solidarität und Beileid für die Familie."

García Márquez starb den Medien zufolge in seinem Haus in Mexiko-Stadt. An seiner Seite seien seine Frau Mercedes Barcha und seine beiden Söhne Rodrigo und Gonzalo gewesen, twittert der mexikanische Fernsehmoderator Joaquín López-Dóriga.

Der Schriftsteller war seit einiger Zeit gesundheitlich schwer angeschlagen. Erst vor wenigen Tagen war er aus dem Krankenhaus in Mexiko-Stadt entlassen worden, wo er wegen einer Lungenentzündung behandelt worden war. Sein Zustand sei stabil, aber aufgrund seines hohen Alters bestehe die Gefahr von Komplikationen, erklärte seine Familie noch am Montagabend. Sein Arzt Jorge Oseguera hatte den Gesundheitszustand von García Márquez zuletzt als kritisch beschrieben.

Der Autor von Werken wie "Hundert Jahre Einsamkeit" und "Die Liebe in den Zeiten derCholera" gilt als meistgelesener Schriftsteller Lateinamerikas. In den vergangenen Jahren hatte sich García Márquez, bei dem 1999 erstmals Lymphdrüsenkrebs diagnostiziert worden war, aus gesundheitlichen Gründen mehr und mehr zurückgezogen.

Nach dem Jurastudium als Reporter nach Paris

Geboren wurde García Márquez am 6. März 1927 im kolumbianischen Dorf Aracataca. Nach einem Jurastudium, das er auf Wunsch der Eltern in Bogota absolvierte, begann García Márquez eine journalistische Karriere - zunächst als Reporter in Kolumbien, später machte er auch in Rom und Paris Station und reiste in die DDR und die UdSSR.

Nach Reportagen und Filmkritiken veröffentlichte García Márquez 1955 seinen ersten Roman: "Der Laubsturm". Doch erst Jahre später gelang ihm 1967 der literarische Durchbruch mit der Familiensaga "Hundert Jahre Einsamkeit".

Weitere Erfolge feierte er mit Romanen wie "Der Herbst des Patriarchen" (1975) und "Chronik eines angekündigten Todes" (1981). 1982 wird er mit dem Literaturnobelpreisgeehrt. Das Preisgeld investiert er in die Gründung der kolumbianischen TageszeitungEl Otro.

1985 erscheint der Roman "Die Liebe in den Zeiten der Cholera", der vielen als García Márquez' schönstes Werk und Klassiker der Weltliteratur gilt. 2007 wird die Lebens- und Liebesgeschichte dann erfolgreich verfilmt.

Spätwerke sind die Bücher "Leben, um davon zu erzählen" (2002) und "Erinnerung an meine traurigen Huren" (2004). García Márquez gilt als Verfechter eines demokratischen Sozialismus und als Aushängeschild der kolumbianischen Linken. Sein literarischer Stil wird als "magischer Realismus" bezeichnet.

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Literaturnobelpreisträger Gabriel García Márquez gestorbenDer magische Erzähler17.04.2014  ·  Seine Werke „Hundert Jahre Einsamkeit“ und „Die Liebe in den Zeiten der Cholera“ machten ihn weltweit bekannt: Gabriel García Márquez, der kolumbianische Literaturnobelpreisträger des Jahres 1982, war der berühmteste Schriftsteller unserer Zeit. Jetzt ist er im Alter von 87 Jahren gestorben.Von ANDREAS PLATTHAUSArtikel Bilder   (1) Lesermeinungen   (0)

© DPA Gabriel García Márquez, 1927 bis 2014Ja, er hatte dank des Spanischen per se einen großen Teil der Welt zum Publikum. Doch dass Gabriel García Márquez, der jetzt im Alter von 87 Jahren gestorben ist, zum bekanntesten Schriftsteller der Gegenwart wurde, lag vor allem an seiner Erzählgewalt und Phantasie, die sich auch in den Übersetzungen erschloss. Die Opulenz seiner Romane, die Weiterführung von erzählerischen Elementen des lateinamerikanischen magischen Realismus in Settings von höchster Realitätstreue, verbunden mit einer profunden Kenntnis der Literatur des zwanzigsten Jahrhunderts, namentlich der des Modernismus, machte die unnachahmliche Mischung aus, die sich in seinem Werk findet.

Autor: Andreas Platthaus, Jahrgang 1966, Redakteur im Feuilleton, zuständig für „Bilder und Zeiten“.      Man konnte von seinen Büchern lange Zeit gar nicht genug bekommen. Den wichtigsten Literaturpreis der spanischsprachigen Welt, den Cervantes-Preis, hat García Márquez allerdings nicht erhalten. Was jedoch nur an ihm lag, denn nachdem ihm 1982 der Nobelpreis für Literatur zugesprochen worden war, rief er alle anderen Jurys auf, ihm nun bitte keine Auszeichnungen mehr zu verleihen und stattdessen lieber junge Autoren zu bedenken. Auch das sicherte

ihm viele Sympathien, und an diese Bitte hielten sich die ansonsten recht eigensinnigen spanischen Cervantes-Juroren, obwohl ihnen damit der einzige Schriftsteller entging, dessen Ruhm an den des Autors des „Don Quijote“ heranreicht.

Eine Freundschaft, die ihm fast jeder verziehDas Bemerkenswerte ist, dass García Márquez diesen Rang hielt, obwohl sein letztes allgemein gefeiertes Buch, der Roman „Von der Liebe und anderen Dämonen“, mittlerweile schon zwanzig Jahre zurückliegt. Nicht, dass er danach nichts mehr publiziert hätte, doch das waren nur noch Fingerübungen eines Mannes, dem in den letzten anderthalb Lebensjahrzehnten die Gesundheit bitter mitspielte. Eine erste Krebserkrankung hatte er 1999 überstanden, der zweite Ausbruch der Krankheit kostete ihn jetzt das Leben. Am Ende verzichtete seine Familie auf eine Behandlung für den ohnehin an Demenz leidenden Schriftsteller, der gleichwohl auch auf den letzten Fotos, die von ihm entstanden, noch höchst eindrucksvolle Figur machte.

Das Buch, das ihn berühmt machte, hieß „Hundert Jahre Einsamkeit“ und erschien 1967. Doch ehe García Márquez damit zum weltweit gefeierten Romancier wurde, war der am 6. März 1927 geborene Mann in Kolumbien und darüber hinaus schon ein bekannter Journalist und persönlicher Freund von Kubas Staatschef Fidel Castro, der diesen Sympathisanten der Revolution schon 1959 in sein Land einlud, um ihn über die Errungenschaften seines Umsturzes berichten zu lassen. Die beiden Männer blieben Freunde bis zuletzt, doch García Márquez‘ Fähigkeiten als Schriftsteller waren derart groß, dass ihm diese Bekanntschaft nicht einmal in den Vereinigten Staaten dauerhaft schadete. Nur sein peruanischer Kollege Mario Vargas-Llosa kündigte ihm Castros wegen 1986 die Freundschaft auf, weil er nicht länger mit dem Büttel eines Diktators bekannt sein wolle. Dabei zählte García Márquez zu den sehr wenigen Menschen, auf die Castro hörte. Gewiss hätte er dem kubanischen Staatschef mehr sagen können, als er es tat.

Mehr als sein Leben, um davon zu erzählenIn Lateinamerika ist García Márquez auch auf dem Höhepunkt seines literarischen Erfolgs mindestens ebenso sehr als politischer Kopf und Kommentator wahrgenommen worden wie als Erzähler. Das zwang ihn für mehrere Jahre nach Spanien, weil zu befürchten war, dass er im Südamerika der Juntas seines Lebens nicht mehr sicher sein konnte, und ganz in Kuba leben wollte der sinnesfreudige Schriftsteller nun doch nicht. Seine Reportagebücher wie „Die Abenteuer des Miguel Littín“ (1986) und „Nachricht von einer Entführung“ (1996) ließen den engagierten Journalisten in der Heimat nie in Vergessenheit geraten, während er im Rest der Welt vor allem durch

Romanerfolge mit „Chronik eines angekündigten Todes“ (1981), „Die Liebe in den Zeiten der Cholera“ (1985) oder „Von der Liebe und anderen Dämonen“ seinen Ruhm stetig erneuerte. Die Verkaufszahlen von García Márquez betragen mehrere hundert Millionen Exemplare.

Weitere Artikel Gabriel García Márquez zum 85.   Neues von García Márquez: Das Wunderbare ist rehabilitiert   Der neue Roman von Gabriel García Márquez   „Leben, um davon zu erzählen“ - Gabriel García Márquez' Memoiren   García Márquez besucht den Ursprung seiner Inspiration  

Das letzte groß wahrgenommene Buch des großen Schriftstellers war 2002 seine Autobiographie „Leben, um davon zu erzählen“. Doch sein Leben hat etwas noch viel Wunderbareres hervorgebracht als äußerst bewegte Ereignisse und Begegnungen: unvergessliche Figuren und Situationen. Kurz: ein literarisches Werk, dem an Qualität wie Wirkung wenig im zwanzigsten Jahrhundert an die Seite zu stellen ist.

Zur Homepage FAZ.NETQuelle: FAZ.NET

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Addio allo scrittore Gabriel Garcia Marquez

Il premio Nobel alla letteratura è morto oggi nella sua casa di Città del Messico a 87 anni. Nei giorni scorsi era stato ricoverato, ma poi dimesso, per l'aggravarsi di una polmonite. 'Gabo' è stato l'autore di 'Cent'anni di solitudine', romanzo chiave del realismo magico ibero-americano. Negli ultimi anni aveva limitato le apparizioni pubbliche a causa della malattia. Il presidente colombiano Santos: "I giganti non muoiono mai"

17 aprile 2014

CITTA' DEL MESSICO - E' morto lo scrittore e premio Nobel alla letteraturaGabriel Garcia Marquez. 'Gabo' era stato ricoverato in ospedale il 3 aprile scorso a Città del Messico, nella clinica Salvador Zubiran per l'aggravarsi di una polmonite. Successivamente era stato dimesso. L'autore di Cent'anni di solitudine, romanzo chiave del realismo magico ibero-americano, aveva compiuto 87 anni il 6 marzo scorso. Negli ultimi giorni, secondo quanto avevano riferito i medici, le sue condizioni di salute erano apparse particolarmente delicate. La sorella Aida, 83 anni, intervistata dall'emittente colombiana Caracolsulle condizioni di salute del premio Nobel colombiano, aveva detto: "Dobbiamo essere pronti alla volontà di

Dio. Uno vorrebbe che la gente fosse eterna, che non morisse mai, ma dobbiamo essere pronti alla volontà di Dio". Il quotidiano di Bogotà El Espectador sottolinea in un titolo a tutta pagina "Per sempre Gabriel".

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La morte di Marquez è la notizia di apertura di tutti i siti online e dei notiziari tv in Brasile. Il

premio Nobel colombiano è ricordato come "uno dei maggiori scrittori del XX secolo". Molti media brasiliani mostrano immagini di 'Gabo' a Cuba, al fianco del "suo amico Fidel Castro". Marquez sarebbe morto a casa, a Città del Messico, attorno a mezzogiorno, riferiscono persone vicine alla sua famiglia che hanno parlato a patto di mantenere l'anonimato per rispettare la privacy dei suoi cari. 

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Considerato lo scrittore più popolare in lingua spagnola dopo Miguel de Cervantes nel 17esimo secolo, Marquez ha raggiunto una celebrità letteraria che ha generato confronti con Mark Twain e Charles Dickens.

LEGGI Il personaggio: una vita tra letteratura e passione civile

Con lui la letteratura sudamericana ha trovato la reale coscienza della propria identità, saldando la tradizione culturale europea con il mondo e la tradizione locale in modo nuovo, risolto. Quel modo che sarà all'origine del boom dei narratori latinoamericani nel mondo negli anni '60. E l'emblema non può che essere l'esemplare realtà della sua fantastica Macondo, la provincia di fantasia creata dallo scrittore e in cui si svolgono quasi tutti i suoi racconti, riflettendo verità e storia della Colombia d'oggi.

Il romanzo del 1967 Cent'anni di solitudine ha venduto 50 milioni di copie in più di 25 lingue: nella memoria di chi lo ha amato risuonerà sempre uno degli incipit più celebri della storia della letteratura: quello in cui il colonnello Aureliano Buendia viene portato dal padre a conoscere il ghiaccio. Tra le sue pubblicazioni anche Cronaca di una morte annunciata, L'amore ai tempi del colera, Il generale nel suo labirinto, e L'autunno del patriarca. Marquez ha vinto il premio Nobel per la letteratura nel 1982 (video), e i suoi libri sono stati venduti più di qualsiasi altra pubblicazione in spagnolo eccetto la Bibbia.

LEGGI L'incipit di 'Cent'anni di solitudine' / GUARDA Il ritorno a Macondo

Il presidente della Colombia, Juan Manuel Santos, ha scritto in un tweet: "Mille anni di solitudine e tristezza per la morte del più grande dei colombiani di tutti i tempi. Solidarietà e condoglianze a Gabo e la famiglia". Poi, alcuni minuti dopo, Santos torna a scrivere: "I giganti non muoiono mai". In un discorso alla nazione, Santos ha ricordato "lo scrittore che ha cambiato la vita dei suoi lettori", annunciando tre giorni di lutto nazionale nel Paese. In un breve intervento a reti unificate, Santos ha "ringraziato" lo scrittore per aver ricordato al mondo che "la Colombia e l'America Latina non siamo, ne saremo, condannati ad altri 100 anni di solitudine e che sapremo avere una seconda opportunita'". "Per noi, i colombiani, 'Gabo' non ha inventato il realismo magico ma è il miglior esponente di un paese che è' in se' stesso realismo magico", ha aggiunto, ricordando che le bandiere colombiane saranno a mezz'asta quale omaggio "a chi ha dato voce ai nostri silenzi e alle leggende dei nostri nonni".

Negli ultimi anni Marquez aveva limitato le apparizioni pubbliche. Lo scorso mese per il suo compleanno era stato festeggiato davanti alla stampa da amici e sostenitori, che gli avevano portato torta e fiori fuori dalla sua abitazione in un quartiere nel sud di Città del Messico. Lo scrittore non aveva parlato in quell'occasione. 

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L'amica di Garcia Marquez, Elena Poniatowska, giornalista e scrittrice messicana, ha detto di averlo visto l'ultima volta quando lui è andata a trovarla a casa sua lo scorso novembre con un bouquet di rose gialle. Il bouquet compare spesso nel romanzo di Marquez Cent'anni di solitudine. "Sembrava stare bene", aveva detto Poniatowska ad Associated Press.

"Con la morte di Gabriel Garcia Marquez, il mondo ha perso uno dei suoi più grandi scrittori visionari e uno dei miei preferiti sin da quando ero giovane". CosìBarack Obama piange lo scrittore colombiano. "Chiamato affettuosamente 'Gabo' da milioni dei suoi fan - ricorda Obama - ha vinto il Nobel con il suo capolavoro 2Cent'anni di Solitudine". Una volta - prosegue - ho avuto il privilegio di incontrarlo in Messico, dove mi ha regalato una copia di

questo capolavoro con dedica, un volume che oggi accarezzo con affetto".

"Fiero colombiano, rappresentante e voce del popolo delle Americhe, maestro del genere del 'realismo magico', che ha ispirato tanti altri a prendere in mano la penna.  Il mio cordoglio - conclude il presidente degli Usa - va alla sua famiglia e a suoi amici, che spero abbiano conforto nel fatto che l'opera di Gabo continuerà a vivere per le generazioni a venire".

"E' morto un grande scrittore, le cui opere hanno dato una grande diffusione e un grande prestigio alla nostra lingua": così ha reso omaggio a Gabriel Garcia Marquez il suo collega peruviano Mario Vargas Llosa.

In brevi dichiarazioni alla stampa ad Ayacucho, Vargas Llosa - che è stato amico di Garcia Marquez per anni, fino a una clamorosa rottura nel febbraio del 1976, segnata da un pugno in faccia con il quale il peruviano colpì 'Gabo' in un cinema di Città del Messico, per motivi mai chiariti - ha sottolineato che "i suoi romanzi continueranno a vivere e a conquistare lettori ovunque" prima di concludere con "condoglianze alla sua famiglia".

 "Ho appreso con tristezza la notizia della morte dello scrittore colombiano Gabriel Garcia Marquez", ha twittato la presidente brasiliana Dilma Rousseff."Gabo conduceva i lettori nelle sue Macondo immaginarie come chi svela un mondo nuovo ad un bambino. I suoi singolari personaggi e la sua America latina esuberante rimarranno marcati nei cuori e nelle menti dei suoi milioni di lettori", ha aggiunto.

L'INCONTRO Whisky e aragosta: a cena con il maestro

Nato a Aracataca nel 1928, Marquez ha frequentato a Bogotà la facoltà di giurisprudenza, già scrivendo e pubblicando su riviste i primi racconti, prima di arrivare al giornalismo, chiamato a Cartaghena per lavorare a El Universal. Nella capitale torna nel 1954 per collaborare a El Espectador e l'anno dopo si reca in Europa, mentre esce il suo primo romanzo, 'Foglie morte'.Un viaggio importante e in cui nasce, tra l'altro il forte legame con l'Italia e il nostro cinema, amato da sempre con quello francese, in opposizione alle produzioni americane. A Roma frequenta il Centro Sperimentale, conosceCesare Zavattini e molti altri personaggi, come testimoniano le sue corrispondenze, ma anche un racconto intitolato 'La santa'. A Bogotà scriveva: "Una favola', girata però in un ambiente insolito, mescolando il reale e il fantastico in modo geniale, al punto che spesso non è possibile sapere dove finisce l'uno e dove comincia l'altro", non parlando, come potrebbe sembrare, della propria letteratura, ma recensendo 'Miracolo a Milano' di Vittorio De Sica.

Fotostoria di "Gabo"Navigazione per la galleria fotografica

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La figura di Marquez non è però legata solo alla sua attività letteraria e la sua notorietà l'ha sempre usata anche come megafono per un un impegno in nome della libertà e giustizia, valori spesso dimenticati dalle dittature sudamericane ma anche dai paesi del 'socialismo reale', oltre che internazionalmente contro la pena di morte o per il disarmo. Amico di Fidel Castro, che ha definito "uno dei grandi idealisti del nostro tempo", ma cui ha sempre chiesto più democrazia, accanto a lui ha assistito all'Avana alla messa di Papa Giovanni Paolo IIdurante la storica visita pontificia del 1998. Anche per questo, tra tante polemiche, è sempre vissuto più all'estero che nel proprio Paese.

http://www.repubblica.it/cultura/2014/04/17/news/e_morto_gabriel_garcia_marquez-83891869/?ref=HREA-1

CITTA’ DEL MESSICO

È morto Gabriel García MárquezLo scrittore di Cent’anni di solitudine, 87 anni, era stato ricoverato fino a qualche giorno fa nella clinica Salvador Zubiran per l’aggravarsi di una grave polmonitedi Dario Fertilio

Se n’è andato Gabriel García Márquez, lo scrittore colombiano che ha avvicinato milioni di persone alla letteratura. E’ mancato a 87 anni, in un ospedale di Città del Messico, a causa dell’improvviso aggravarsi di una polmonite. Ma la notizia, anche se preparata dal prolungarsi di un suo precario stato di salute, è luttuosa per milioni di lettori: soprattutto per i tanti figli del Sessantotto che proprio allo scoppio della contestazione erano stati colpiti al cuore da «Cent’anni di solitudine». Un romanzo talmente lussureggiante, libertario, esotico, coinvolgente, da trasformare il luogo immaginario in cui si svolge la storia, Macondo, in simbolo e sinonimo di vita alternativa.

Nobel nel 1982E tuttavia «Gabo», come lo chiamavano non soltanto gli amici, è stato molto più che l’autore di un solo libro, per quanto capolavoro; e anche più che un classico monumento intellettuale, infiocchettato dal premio Nobel (effettivamente conseguito nel 1982). In altri romanzi, infatti, ha saputo variare il suo stile, conquistando giovani lettori e trasformando — come soltanto i grandi hanno saputo fare — i titoli dei suoi libri in slogan diffusissimi e persino in luoghi comuni: «L’autunno del patriarca», «Cronaca di una morte annunciata», «L’amore ai tempi del colera», «Il generale nel suo labirinto» sono espressioni che tutti almeno una volta ci siamo ritrovati sulle labbra, e ancor oggi ricorrono in tanti discorsi quotidiani o colti, allusivi o ironici.

shadow carouselPrev Next L’amico nemico Vargas LlosaGarcía Márquez a tutto tondo, insomma, anche come figura pubblica, e persino accettato e applaudito da quanti non hanno condiviso le sue posizioni politiche: amico intimo e dichiarato del dittatore Fidel Castro (sia pure «sul piano personale e letterario»), simpatizzante del regime di Chavez in Venezuela, ma anche avversario dichiarato dei mercanti di droga e morte della sua Colombia. E amico-nemico di un altro grandissimo scrittore sudamericano, Nobel come lui ma di

opinioni politiche opposte: il peruviano Mario Vargas Llosa, liberale e anche rivale in amore, capace di sfidarlo a pugni in una rissa, salvo poi lodarlo come un gigante della letteratura.

shadow carouselTutti i romanzi di Márquez

L’ultima operaUna vita così piena aveva avuto la sua svolta nel 1999, anno in cui gli era stato diagnosticato un tumore: da quel momento la coscienza di avere il tempo contato lo aveva spinto verso uno stile differente, memorialistico, sia pur sempre segnato dall’ironia. «Memoria delle mie puttane tristi», ultima prova narrativa, racchiude fin dal titolo tutto quello che Gabo ha sempre voluto essere: irridente, contraddittorio, provocatorio, animato da un’idea di giustizia che non escludeva né la partigianeria, né la sfida a ogni correttezza.

http://www.corriere.it/cultura/14_aprile_17/morto-gabriel-garcia-marquez-centanni-di-solitudine-nobel-1982-8094895c-c668-11e3-8866-13a4dbf224b9.shtml#