AA / Tunis / Majdi Ismail
Gabriel José de la Concordia García Márquez. “Journalism of writing”, according to these days, but also writing, novelist, novelist, and political militant. His name is Legion. The mortal, the sienne, the only experience which could not be attributed to it, and its raison since April 17, 2014 in its home in Mexico. N’empêche, «Gabo anda por ahí», Gabo is in the paragliding, having its mark on each other and in Jamaica all generating writings through the mound, which, like it, breaks the body of their shell in imagination, mythology, infancy, and the history of their natural land. Colombian rhetorical cavalcades and their imagination dribbled on by the fact that political homemakers fall beyond the Hispanic world.
Literature and politics coexist in the art and life of García Márquez, both inverted and inverted.
– An enfance merveilleuse à Aracataca
García Márquez was born on March 6, 1927, in Aracataca, a curtain between the marigolds and the plains of the Colombian Caribbean. It’s the line of our children. These are the great-grandparents who want to get rid of their children after their parents have been to Aracataca when they were born. The genesis of his imaginary son, he just wants to be his grandparents. The great-grandfather Colonel Nicolás Márquez did not want to miss the souvenirs of the civil war of Mille Jours that, between 1899 and 1902 in Colombia opposite the “liberal” camp and all the “conservatives” who finished triumphantly.
Writing en devenir, as well as intellectual formation and the foundations of political and social conscience, as well as a certain sense of the dimension of his «Papalelo», when donated by Gabriel to the free-colonel colonel. Gabo sera aussi marked by his grand master’s recit on the “massacre of bananeraies”: about 1,500 ouvriers agricoles on strike were created by the Colombian weapon, in December 1928, under pressure from Washington to disperse marines are not governed to protect the interests of the American company United Fruit, named after the Fruit in all of Latin America. This episode of Sanglant sera encré, – in the form of fiction -, on the pages of his work “Cent ans solitude”, the beacon of Latin-American literature.
The great Galilean mother and her resuscitably encapsulated merveilleux accounts or being disturbed by the nature of the surnaturel, the premiums, the rites of the returnees, and the necromanciennes. Cette enfance colombienne forgera son habitus.
– Le journalism, une raison d’être
Live the tempo of adolescence in the cold megalopolis of Bogota. Baccalaureate in 1946, apprenticeship of journalism on the bowl, straightforward studies, – intermittent years -, the choices of choosing Vallenato (popular Caribbean music) and sharing the light of the horses. His most iconic characters are Franz Kafka, James Joyce, Virginia Woolf, William Faulkner, or Ernest Hemingway. On the sewing machine, in the sense of delusion of the term, the Spanish language. But he is a journalist like García Márquez in public. In addition to that, journalism is for Colombia another reason. “For me, there is no gap between journalism and literature, between romantic writing and journalistic writing; meme source, meme object, meme problem: la réalité. It is clear that the reality that the journalist treats is immediate and that the romantic style paints with more lyricism. Moi, you are a writing journalist, among romances you are reporting (…) What fascinates me in the news, that is the information: waiting for the news, on waiting for the information, being informed. Information is oxygen, ”said García Márquez, in 1978, through a politico-literary approach, including the militant and intellectual of the extreme gas, Pierre Goldman.
In 1955, García Márquez, a young journalist, published in Colombia, El Espectador, a series of episodes on the Caldas catastrophe. This Colombian navy destroyer of overcrowded smuggling hoods, builds up to its crew members in high quality while licking the cables of this cargo case. García Márquez adapting the variety of the bouquet of his seam to the captured military. This recitation is repeated in 1970 in a book entitled “Recitation of a Naufrage” which is dated. Successful in this text after the lecturers of El Espectador, the Colombian dictator is obliged to send García Márquez to Europe, by screening reprisals by the military regime of Rojas Pinilla.
– The Parisian stage
The descent on the Continental Mounts, corresponding to the expatriation of El Spectator, part of Italy, effecting the journey from the other side of the ferry route, covering the Geneva conference among the great powers (United States, USSR, Royaume -Uni et France) can be installed in Paris, the capital of the world’s epoch. The dictator Pinilla finishes with the banner El Espectador, and the journalist García Márquez retro sans travail et sans-le-sou. The writing and survival, while attending the gliding moment.
In Paris, more than the Algerian war, Colombia gained political conscience through contact with FLN circles and militants. The shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun, the shotgun. The idea of solidarity with the Cuban revolution in Parisian racism.
In 1958, García Márquez returned to Latin America, Caracas to overthrow the reversal of the military dictatorship of Pérez Jiménez in Venezuela by a popular soul. The one-year-old had the most amorous passion of all, Mercedes Barcha, which is no less. Les Barbudos, Ernesto Guevara, and Fidel Castro triumphantly from Fulgencio Batista in 1959 and presented their power over the Cuban island. The journalist expresses his solidarity with the Cuban revolution and lies with Líder Máximo. A revolution and an enmity that Gabo did not develop into Jamaica. To justify its alliance without failing Cuban experience, the dira «is profoundly solid in the Cuban revolution. It can only be said that it is only solid from its positive aspects but also from its negative aspects. When a revolution is in the ladder, all but manger of the ladder with it, it is as if it were easy to knock, it is easy to measure the steps when it reaches the speed of the ladder, easy to reach, marche plus, ça pue. It is the most implicitly critical critique of the negative aspects of the Cuban revolution – and the negative aspects, one and the same – but this critique operates within the system ».
The journalist’s work was devastating for the Cuban press agency «Prensa Latina». It is fixed in Mexico, for, it is intended, “to be among the important centers of Latin American activity”.
In 1962 García Márquez published his novel, “La Mala Hora”, which won the Colombia National Prize for Literature, its first high-profile award. His caricature in 1965 when his Spanish agent and editor, Carmen Balcells, signed a contract with him, authorizing this deer to represent all languages and all salaries for 150 years!
– “Cent ans solitude”, the world conservation
In 1967, his work “Centers of Solitude” was added to the pantheon of world literature. This novel, purely the product of García Márquez’s habitus, is incarnated as appealing to “magical realism”, which has the effect of creating an exodus out of an encroachment of violence, epic, sensuality, elements surnaturels, of mythology, and of imagery without limits, masterfully deployed in a power supply, due to hyperboles and stylistic experiments. Gabo’s writing, applied to the serpent, allows fiction to be practiced in reality, in order to induce the effects of reality along with a discourse of fiction. When running it provides prestige, a real return to the meridian rendering, and then eating the soup from the reader as it senses, and which is immediately manifested, is not in reality as it makes sense, which protection, reservation, and malignancy all transmit to another sense; which being both the strongest sense and the “one less” sense. This is why the Greeks call it “allegory”, according to the fourteen terminology.
“Centers of solitude is like the base of the puzzle if I do not give the pieces in my previous books. All keys and supplies. On connaît the origin and the end of all the characters, and the complete history, without scenes, of Macondo (fictitious village) Be that in this novel the carpets fluttering, the resuscitating mortals and which and what many of the winds , which may be the mysterious at least part of the book in which the author tries to conduct the reader from the main for which there is no curtain at the moment, and which does not remain at the point of obscurity », explicit- t-il.
All the readers of this monument of Colombian literature, marked by the principle of “Centers of solitude”: in the course of which it takes place in conjunction with the glass ».
– I do not have a written engraver
From this moment García Márquez, I mean a book engraved with gauze. Fregas Vargas Llosa, Julio Cortázar, Rosa Regàs, Beatriz de Moura, Carlos Fuentes and Milan Kundera. The politics of rattrape. On September 11, 1973, Augusto Pinochet assassinated the Salvador Allende Popular Unity in Chile. The “golpe” of Santiago, and the opposite of Colombia to follow the writing of romances for a time, to consume the “war of information”. The power of journalism created in Colombia by the magazine “Alternativa”, – the organ of counter-information -, in order to denounce American imperialism, to suppress Pinochet’s military junta, take the cause and cause the thunderbolt and overthrow the Havana castrated regime.
1982 sera l’année du sacre. The two Stockholm jurors awarded the Nobel Prize in Literature. It is Colombia’s premiere to capture this distinction, and the Latin American quatrains after Gabriela Mistral, Miguel Angel Asturias and Pablo Neruda. With 1,150,000 Nobel laureates specializing in creating the Foundation for a New Latin American Cinema and the International School of Cinema and Television in Cuba. Plus, there is a foundation for the new Ibero-American journalism in Carthage.
The author of “L’Automne du patriarche” (1975), “Chronique d’une mort annoncée” (1981), “L’Amour aux temps du cholera” (1985), or encore “Le Général en son labyrinthe” ( 1989), at the aura of the cess, – at the beginning of its screens -, exuding the intimate and popular freshness of all Latin America, under the angle of a fantastic reality and permitting this continent to take revenge on the ‘histoire.
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