2016年6月29日 星期三

Gabriel García Márquez, The Art of Fiction.《番石榴飄香》Apuleyo Mendoza, Plinio;


The Paris Review

“Inspiration is when you find the right theme, one which you really like; that makes the work much easier. Intuition, which is also fundamental to writing fiction, is a special quality which helps you to decipher what is real without needing scientific knowledge, or any other special kind of learning. The laws of gravity can be figured out much more easily with intuition than anything else. It’s a way of having experience without having to struggle through it. For a novelist, intuition is essential. Basically it’s contrary to intellectualism, which is probably the thing that I detest most in the world—in the sense that the real world is turned into a kind of immovable theory. Intuition has the advantage that either it is, or it isn’t. You don’t struggle to try to put a round peg into a square hole.” —Gabriel García Márquez


Gabriel García Márquez was interviewed in his studio/office located just behind his house in San Angel Inn, an old and lovely section, full of the…
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“He was healthier than the rest of us, but when you listened with the stethoscope you could hear the tears bubbling inside his heart.”
― from CHRONICLE OF A DEATH FORETOLD by Gabriel García Márquez 
一件事先張揚的兇殺案
A man returns to the town where a baffling murder took place 27 years earlier, determined to get to the bottom of the story. Just hours after marrying the beautiful Angela Vicario, everyone agrees, Bayardo San Roman returned his bride in disgrace to her parents. Her distraught family forced her to name her first lover; and her twin brothers announced their intention to murder Santiago Nasar for dishonoring their sister. Yet if everyone knew the murder was going to happen, why did no one intervene to stop it? The more that is learned, the less is understood, and as the story races to its inexplicable conclusion, an entire society--not just a pair of murderers—is put on trial.

馬奎斯作品集10/16:番石榴飄香

The Fragrance of the Guava: Conversations with Gabriel Garcia Maarquez 
Plinio Apuleyo Mendoza 
  • Series: Faber Caribbean
  • Paperback: 128 pages
  • Publisher: Faber & Faber (April 20, 1998)
  • Language: English

Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava, London: Verso



In these conversations Gabriel Garcia Marquez, who won the Nobel Prize for Literature in 1982, speaks about his Colombian family background, his early travels and struggles as writer, his literary antecedents, and his personal artistic concerns. Marquez conveys, as he does in his work through the power of language, the heat and colour of the Spanish Caribbean, the mythological world of its inhabitants, and the exotic mentality of its leaders. Plinio Apuleyo Mendoza, the journalist and novelist who shares these conversations, is a friend and contemporary of Marques, and also of Colombian extraction.

打開馬爾克斯世界的鑰匙是什麽?是《番石榴飄香》。當馬爾克斯談馬爾克斯時,他會說些什麽?一切都在《番石榴飄香》里。

《番石榴飄香》被譽為同馬爾克斯一樣經典的解讀馬爾克斯的書。中文版為首次授權出版

馬爾克斯說:在我的小說里,沒有一行字不是建立在現實的基礎上的,包括糾纏著馬烏里肖的黃蝴蝶和飛上天空的雷梅黛絲。

馬爾克斯說:我只是想藝術地再現我童年時代的世界。我的童年是在一個大家庭里度過的。我有一個妹妹,她整天啃吃泥巴;一個外祖母,酷愛占卜算命;還有許許多多名字完全相同的親戚,他們向來搞不太清楚幸福和瘋癲的區別。

馬爾克斯說:我有好幾次參加活動或儀式時都提出一個條件,就是不穿燕尾服。沒辦法,不這樣會倒霉的嘛。我有一份預示倒霉事兒的物品和事情的清單。我知道有一位作家,走到哪兒就把晦氣帶到哪兒。我不能說他是哪位,要是說了,我們這本書就該完蛋了。

加西亞•馬爾克斯(Gabriel Garc a M rquez)1927年出生於哥倫比亞馬格達萊納海濱小鎮阿拉卡塔卡。童年與外祖父母一起生活。1936年隨父母遷居蘇克雷。1947年考入波哥大國立大學。1948年因內戰輟學,進入報界。五十年代開始出版文學作品。六十年代初移居墨西哥。1967年出版《百年孤獨》。1982年《番石榴飄香》問世。同年獲諾貝爾文學獎。2014年4月17日於墨西哥病逝。

普利尼奧‧門多薩(P. A. Mendoza)加西亞•馬爾克斯好友,作家、記者,曾任哥倫比亞駐意大利和葡萄牙大使。

譯者簡介
林一安,中國西班牙葡萄牙拉丁美洲文學研究會常務副會長,《世界文學》副主編,《外國文學評論》編委。

目錄

1 淵源
13 家人和親友
27 談寫作
45 修養
57 讀物及影響
67 作品
81 等待 :這篇有幾次都牽涉到西班牙語的特色:博來羅 (舞曲,音樂術語)....只有我們拉丁美洲人才能領略它確切的含義,就跟領會博爾赫斯所使用的形容詞ㄧ樣。 (頁90。" (《百年孤獨》) 全書通篇如此,處於優美或造作的邊緣,它像一隻博來羅 舞曲。); 拉丁美洲的資產階級分不清動詞 ser 和 tener。 (頁88 根據譯注:"是" vs "有"。 或者HC: being vs having) ;
93 《百年孤獨》
105 《族長的秋天》
119 今日
129 政治
141 婦女
151 迷信 怪癖 愛好
161 聲譽和盛名


Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava, London: Verso, p.35
García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a similar way,
"The way you treat reality in your books ... has been called magical realism. I have the feeling your European readers are usually aware of the magic of your stories but fail to see the reality behind it ... ." "This is surely because their rationalism prevents them seeing that reality isn't limited to the price of tomatoes and eggs."[109]  




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