2022年2月4日 星期五

Gabriel García Márquez, The Art of Fiction.《沒有人寫信給上校》《番石榴飄香》Apuleyo Mendoza, Plinio;


“Life had already given him sufficient reasons for knowing that no defeat was the final one.” 
―from THE GENERAL IN HIS LABYRINTH by Gabriel García Márquez

“There is always something left to love.”
―from ONE HUNDRED YEARS OF SOLITUDE by Gabriel García Márquez
The brilliant, bestselling, landmark novel that tells the story of the Buendia family, and chronicles the irreconcilable conflict between the desire for solitude and the need for love—in rich, imaginative prose that has come to define an entire genre known as "magical realism." READ more here: http://www.penguinrandomhouse.com/…/one-hundred-years-of-s…/#


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…
THEPARISREVIEW.ORG




“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]


馬奎斯《沒有人寫信給上校》讀書會,這個故事關於一個退休的老革命軍軍官,在面對貧窮的壓迫下,還能否堅持自己的志向。本文作者亦由此衍生出關於現實和理想的討論。
//面對生活的壓迫,上校也曾下定決心要把公雞賣掉。但公雞在奮戰中迸發的光芒喚醒了他被現實摧殘消磨掉的初心,令他清楚明白重點不在於金錢私利,甚至不是勝負,而是戰鬥本身。覺悟了的上校,抱着公雞回家後向妻子表明無論如何都不會把公雞賣掉,必須讓牠參賽。當妻子憤怒而又合理地質問他在比賽前「我們要吃什麼」時,上校以最純粹、澄明、無所畏懼的心境,淡然卻震撼人心地說出了故事的最後一個字:「屎。」——簡單的一個字,卻堪稱小說史上最令人印象難忘的收結。
上校的處境迫使我們反思理想與抗爭之間的關係。像沙巴斯那一類人,參與革命活動只為個人利益;只要有利可圖,便會毫不猶豫地出賣「理想」與同儕。即使熱切投身革命的人,很多都只是把抗爭視為實現政治理想的手段。但上校的態度似乎並非如此。作為自由黨人,上校追求自由與公義。最理想的情况,當然是公義實際上得以彰顯,人民的自由與權利能夠在現實的法律與制度中得到尊重和保障。假使這一切因遭受各種現實的阻撓而無法實現,是否便代表抗爭毫無意義,代表我們應該向現實低頭,退而埋首追求個人利益?
作為理想,自由與公義並非某種固定不變的個人或社會狀態,而是一種社會生活方式。除了政權體制的配合,當中最關鍵的要素,正是要在生活中對自由與公義有所要求:一個真正理想的自由與公義社會,每個成員都會要求自己重視自己與他人的自由,以及重視自己與他人——包括政府——的行動是否符合公義。換句話說,自覺爭取自由與公義,不只是在政治上建立能夠落實這些理念的社會環境的手段,更是構成理想生活的核心。
因此,單單着眼於行動能否成功改變現實政治環境,並不足以衡量它們的價值。//




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