2017年8月12日 星期六

Gabriel García Márquez, The Art of Fiction.《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…

“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 
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.


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.






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。



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]