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1 Introduction 1. See the Selected and Annotated Bibliography on Pp. 155 Notes 1 Introduction 1. See the selected and annotated bibliography on pp. 155-7. 2. Plinio Apuleyo Mendoza and Gabriel Garcia Marquez The Fragrance of Guava, trans. Ann Wright (London: Verso, 1983) pp. 62, 78. 3. For example:Josefina Ludmer, Cien Aiios de Soledad: una interpretacion (Buenos Aires, 1972); Michael Palencia-Roth, Myth and the Modern Novel: Mafquez., Mann and joyce (New York: Garland, 1987); Robert L. Sims, The Evolution of Myth in Gabriel Garcia Mafquez (Miami: Universal, 1981). 4. For a good study of the political and historical context of Marquez see Stephen Minta, Gabriel Garcia Mafquez: Writer of Colombia (Lon­ don: Cape, 1987). 5. Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Blackwell, 1958) pp. 213-14. 6. Fragrance, pp. 53-4. 7. The Labyrinth of Solitude, trans. Lysander Kemp (Harmondsworth: Penguin, 1985 ). 8. In this connection see Miguel de Unamuno's remarks on the cape, with its total isolation within a personal atmosphere, as an expres­ sion of the old Casti!ian character. En torno al casticismo (Madrid: Austral, 1943) p. 52. Unamuno's comments on the mixture of free will and fatalism are especially suggestive for the colonel of No One Writes to the Colonel. En torno (pp. 75-6). 9. La ruta de don Quijote, ed. Jose 'Maria Martinez Cachero (Madrid: Catedra, 1988). 10. Ruta de don Quijote, p. 114. 11. It is a common observation that the great tradition of Spanish painting is fundamentally indifferent to perspective. 12. For a good modern discussion of this theme see Edwin Williamson, The Halfway House of Fiction: Don Quixote and Arthurian Romance (Oxford: Clarendon Press, 1984). 2 Biographical Summary 1. There is actually some uncertainty as to his date of birth which his 147 148 Notes father believed to be 1927. 2. Obra Periodistica, Vol. 2, Entre Cachacos l, ed.Jacques Gilard (Barce- lona: Bruguera, 1982) pp. 245-62. 3. Ibid., pp. 566-652. 4. Relato de un naufrago (Barcelona: Tusquets, 1970). 5. Padilla was detained in 1971 and 'confessed' to incorrect attitudes expressed in his writings. For Marquez' own comment, and his dif­ ference from his old friend Plinio Apuleyo Mendoza, see Fragrance, p. 100. Index on Censorship II has a special coverage of the Padilla affair. 6. 'Tuesday Fiesta' appeared in Los funerales de La Mama Grande (Xalapa, Mex.: Universidad Veracruzana, 1962). 'The Old Man with Enormous Wings' in Cuadernos Hispanoamericaiios, No. 245 (Madrid, 1970) 1-6. 3 Journalism and Fiction 1. Obra Periodistica, Vol. IV, De Europa y America, pp. 763-7. 2. The Spanish 'hojarasca', translated as Leaf Storm, means a mass of dead and drifting leaves, hence 'drifters'. 3. Some of his early pieces in El Heraldo were stories seeking to create a mysterious atmosphere in a realistic context. 'El Huesped' (The Guest) and 'EI Desconocido' (The Stranger) are effectively exercises in this mode. Obra Periodistica l, Textos Costeiios, pp. 308-12. 4. La Hojarasca (Buenos Aires: Editorial Sudamericana, 1975) p. 48. 5. Leaf Storm and Other Stories, trans. Gregory Rabassa (London: Cape, 1972) p. 32. 6. L 'Etranger (Paris: Gallimard, 1942). At the end of his remarks on 'the novel of violence' Marquez cites Camus as a positive example of the indirect presentation of political violence. 7. This motif is central to Rulfo's novel Pedro Paramo (1955) and his collection of stories The Burning Plain ( 1953 ). 8. The Labyrinth of Solitude, p. 191. 9. The references here are to Conrad's Lord Jim ( 1900) and Heart of Darkness ( 1902). 10. The allusion is to Conrad's tale 'The Secret Sharer' (1912). 11. The Rainbow (London: Methuen, 1915). Much of Lawrence's poetry was devoted to a meditation on the 'otherness' of non-human life forms. 12. Obra Periodistica, Vol. 3, Entre Cachacos II, p. 623. 13. La Hojarasca, pp. 124, 130; Leaf Storm, pp. 90, 95. 14. El coronet no tiene quien le escriba (Madrid: Austral, 1986) p. 79. 15. No One Writes to the Colonel, trans.]. S. Bernstein (London: Cape, 1971) p. 20. 16. Obra Periodistica, Vol. 2, Entre Cachacos l, p. 476. 17. Saving the Appearances: a Study in Idolatry (New York: Harcourt Notes 149 Brace, 1965) esp. pp. 45-95. 18. Othello was adapted from a novella by Cinthio. The peculiar quality of Hamlet as a 'novelistic' character in a dramatic piece was discussed by Goethe and Schiller and more recently by Barbara Everett in 'Growing' in The London Review of Books, 31 March 1988, PP· 6-9. 19. Fragrance, p. 62. 20. Fragrance, p. 45. 21. Fragrance, pp. 47-8. 22. Mr Carmichael is a character in Woolf's To the Lighthouse. 23. I give the passage from Mrs Dalloway (London: Hogarth Press, 1925) p. 19. 24. Eichmann in Jerusalem: a Report on the Banality of Evil, rev. edn (Harmondsworth: Penguin, 1977) esp. pp. 251-2, 287-8. 25. Lieutenant William Calley was convicted in 1971 of a mass killing of the villagers of My-Lai in Vietnam. He was subsequently par­ doned by President Nixon. 26. Obra Periodistica, Vol. 2, Entre Cachacos I, p. 476. 27. La Mala Hora (Barcelona: Plaza y Janes, 1974) p. 50. In Evil Hour, trans. Gregory Rabassa (London: Cape, 1980) p. 44. Rabassa's 'newspaper talk' for 'literatura de periodico' loses the reference to literature. 28. Obra Periodistica, Vol. 3, Entre Cachacos II, pp. 910-11. 29. These self-reflexive allusions have, however, been seen in a more patterned, thematic way. See Wolfgang A. Luchting, 'Lampooning Literature', La mala hora, in McMurray, pp. 93-102. 4 The Cervantean Turn: One Hundred Years of Solitude 1. Flaubert's Parrot (London: Cape, 1984). 2. The Evolution of Myth in Gabriel Garcia Mafquez (Miami: Universal, 1981). 3. Gabriel Garcia Mafquez: historia de un deicidio (Barcelona: Barral, 1981 ). 4. Prologue to The Kingdom of this World (1949). 5. See Gilard's 'Prologo' to Obra Periodistica, Vol. 2, Entre Cachacos I, p. 70. 6. Jorge Luis Borges, A Personal Anthology, ed. Anthony Kerrigan (New York: Grove Press, 1987) pp. 16-23. 7. Andre'Breton 'Manifesto of Surrealism' in Manifestos of Surrealism, trans. Richard Seaver and Helen R. Lane (University of Michigan Press, 1972) pp. 10-14. 8. Cien Anos de Soledad, ed. Jacques Joset (Madrid: Catedra, 1987) p. 323. 9. One Hundred Years of Solitude (London: Pan, 1978) p. 202. 10. Illuminations (London: Fontana, 1973) p. 257. 150 Notes 11. On the Uses and Disadvantages of History for Life, trans. Peter Preuss (Indianapolis: Hackett, 1980) p. 10. 12. Jorge Luis Borges, Labyrinths, ed. Donald A. Yates and James E. Irby (Harmondsworth: Penguin, 1970) pp. 87-95. 13. The Birth of Tragedy, trans. Walter Kaufmann (New York: Vintage, 1967) p. 134. 14. Rama points out that the 'magical' is not peculiar to Latin America, as Carpentier claimed, but to uneducated folk culture, as his example showed. Angel Rama, Gabriel Garcia Marquez: edificacion de un arte nacional y popular (Universidad de Ia Republica, Uruguay, 1986) pp. 97-8. 15. Fragrance, pp. 114-15. 16. Fragrance, p. 106. 17. Birth of Tragedy, pp. 68-9. 18. Brian McHale, Postmodernist Fiction (London: Routledge, 1989) pp. 134-6. 19. Metaphors We Live By (Chicago University Press, 1987). 20. 'It is what human beings say that is true and false; and they agree in the language they use. That is not agreement in opinions but in form of life.' Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Blackwell, 1958) p. 88. 21. ' ... if a man sees certain human beings as slaves, isn't he ... rather missing something about himself, or rather something about his connection with these people, his internal relation with them so to speak. When he wants to be served at table by a black hand, he would not be satisfied to be served by a black paw. When he rapes a slave or takes her as a concubine, he does not feel that he has, by that fact itself, embraced sodomy. When he tips a black taxi driver (something he never does with a white driver) it does not occur to him that he might more appropriately have patted the creature fondly on the side of the neck. He does not go to great lengths either to convert his horses to Christianity or to prevent their getting wind of it. Everything in his relation to his slaves shows that he treats them as more or less human - his humiliations of them, his disappointments, his jealousies, his fears, his punishments, his attachments ... ', The Claim of Reason (Oxford: Clarendon Press, 1979) p. 376. 22. 'Prologo' to Obra periodistica, 4, de Europa y America, pp. 14-15. 23. Obra Periodistica, 4, de Europa y America, p. 414. 24. Ibid., p. 174. 25. Labyrinths, p. 217. 26. The Labyrinth of Solitude, p. 161. 27. Change of Skin, trans. Sam Hileman (Harmondsworth: Penguin, 1975) p. 263. 28. ' ... it appears likely that poets in our civilization, as it exists at present, must be difficult', Selected Essays (London: Faber, 1932) p. 289. Notes 151 29. 'The Waste Land', line 261. Collected Poems (London: Faber, 1963) p. 73. 30. Labyrinths, p. 219. 31. On the Uses and Disadvantages of History for Life, pp. 12-14. 32. Women in Love, ed. David Farmer, Lindeth Vasey and john Worthen (Cambridge University Press, 1987) p. 529. 33. The Rainbow, ed. Mark Kinkead-Weekes (Cambridge University Press, 1989) p. 258. 34. I discuss Lawrence's narrative hyperbole in The Rainbow in D. H. Lawrence: Language and Being (Cambridge University Press, 1992) pp. 55-7. The whole chapter on The Rainbow provides a fruitful parallel with the present discussion of Hundred Years. 35. See my chapter on The Plumed Serpent in D.
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