Preceded by the usual plethora of reviews, subject, here is the new book.
The tam tam was started at least a year before. Were sent on time traveled to Bogota query for "friends and family." Then the book comes out and that same day, or a few days before, the critical consensus, Gabriel García Márquez, "maestro absoluto", "is back to offer another memorable expression of his exceptional gifts of storyteller." Reviewers extol "the supreme objective of the great writer," the power with which you tell the more sinister moments, "that" does not come to overshadow the delicate lyricism, moving. "For them not only" the author's style flames resplendent, as always marked by a radical poetics "but rather, the work is notable for the" visible search for sobriety. "
The review views briefly summarized here is entirely reserved for the corresponding reception Live to tell. Yet it is false. Rather than make up for in pages as they exit the last month, we reported quotes, completely identical, reserved in 1994 the novel Del amor y otros demonios . (Gabriel García Márquez, Del amor y otros demonios , Barcelona, \u200b\u200bMondadori, 1994. Ed it.: Love and other demons , trans. Angelo Morino, Milan, Mondadori, 1994. To do no wrong any Italian reviewer, the source is English: Miguel García-Posada, "Amor y posesiones. La nueva novela de García Márquez y masterly", El País , Madrid, April 23, 1994).
A septuagenarian author short of inspiration begins writing a torrential autobiography. Comes the first volume covering the first thirty years of life. There are nine hundred pages, reduced to a pitiful but luckily enough job of editing a little more than five hundred. In support of the book before its release, leaving a sea of \u200b\u200breviews. Normal.
But the question remains. Why García Márquez's books are - as we read each new issue, invariably, with a formula that is tiresome to quote a title by the same author - 'successes announced'. Why this unanimous apologetics reception, totally unjustified, if you look at the quality of the work. And how can it be that this author is held to the highest in the second half of the twentieth century?
answer the question this way: all the fault or merit of the establishment editorial. The public, the readers, are innocent, or slaves of a game played against them.
First, García Márquez like the 'reviewer normal'. García Márquez does not pose no risk. With him there are no surprises. Are you sure you can do a bit rich, do not shame them, without losing time to read the bloated pages of each new book.
For too many years García Márquez's books are all the same. For his work is the view with which, according to Borges, the critic Paul Groussac welcomed the new editions of the Diccionario de la Real Academia : Everyone does regret the past. In the reader's memory books, mere repetitions of each other, mingle. Each work appearing citation or rimasticatura the previous year. So this review is not a problem. We know what to write.
anyone know baste four sentences talking about the weird and wonderful world of Macondo, which is on the maps Aracataca. It's always nice easy to remember history reviewer's son who learns to telegraph to tell by listening to stories told by her grandmother. The writer who is an inveterate dreamer but that is also politically engaged. From there it's easy to pass to Latin America, the tropics, Cairaibi, the rhythms of bolero and salsa, hot sunshine and sunsets with amazing colors, trains, small cars plunge into the red green colored bus. (In this way, we can even run yet another report, another journey of a journalist in Cartagena and along the Rio Magdalena).
Moreover, the reviewer will feel gratified, by being against being able to handle the same style as the celebrated author of the work it presents. Because the style is coded, well identified, but easy to imitate.
What writes García Márquez is indistinguishable from what they write their reviews, one reviewer writes that this is indistinguishable from what he writes every other reviewer. Read this sentence: Vivir para recount "is a struggle with the nostalgia of the acid and oxide of time, to return in a masterful eight chapters fascinating adventure." I will not tell who wrote the sentence, because it is useless. It is evident that he could write the same García Márquez, who for decades incenses and imitates himself. But he could also write any lofty critic, as well as any journalist. Write a Nobel Prize as the best contemporary author, what satisfaction! And so, therefore, with reviews.
But of course, the incredible success of García Márquez was born not only from the pleasure of the reviewer. There's more.
global agreement for the publishing industry as a whole, García Márquez is, and is continuing, with more brilliance with each new season, the ideal author.
Because no such García Márquez's literary marketplace offers the most easy to sell: the literature of escape. These exotic themes, a world away (no matter if that does not exist) where it's nice to imagine being able to escape. A world that supports and strengthens the market of a package tour: holiday villages, travel easy. But García Márquez offers, and this has no competitors, including avoidance policy. He alone carries with it the imagination of a political era of easy revolutionary utopias, refers to the icon of Che Guevara, he alone is now offering a decent reading of the figure of Fidel Castro.
And again. García Márquez is the ideal author for Behind every book is always in mind the character. A particularly easy sell. Flaunts his leftist ideas, and all Latin American machismo, but we know that there is no reason to fear him. Its contradictions make him a pawn to handle. He had come to Europe in the fifties just because some news reports had made him unpopular with the dictatorship of Rojas Pinilla. In the sixties he left New York, where Castro was on behalf of the agency Prensa Latina, even when it seems that the landing at the Bay of Pigs is a success. Announces solemnly that no longer write a novel until the fall of Pinochet, but then changed his mind and public Love in the Time of Cholera . In the eighties, the rush to leave Colombia because they are afraid of being questioned by police investigating the guerrilla group M-19. And when it is still a sacred monster threat on several occasions to leave their country because of attacks on freedom of thought, rather than attacks that are the size of its copyright.
there is none like him. Only García Márquez rails against the Nobel Prize, branding him "senile bay," however, and the following year, having won it, without shame goes to pick it up.
is convenient to all that this author makes it easy to merchandise, goods more enjoyable to read than that produced by an Allende or Baricco. It is the Maradona of literature; Maradona as virtuous, with a mastery naive, with an innate ability to juggle the language - but a weak man, to blackmail. It is convenient to all this a standard entry in the Third World in Latin America. It suits the character is not worthy of our style and our refinement. While the incense, basically laugh at him. And in doing so we exploit the rich, forcing him into a role, enriching behind him.
Yet we should have more respect for this author. el Hundred Years of Solitude 'Autumn of the Patriarch remain masterpieces. But the masterpieces you save if you avoid the hypocrite, general apology. If the work is separated from the softness and decadence of the character-author. Instead, the publishing industry is pumping the character, any value his work. So we pursued the task of leveling everything down. Order that new books are sold, the imitation of the masterpiece, written in the style of the same Márquez Márquez, must appear to the reader indistinguishable from the texts of Márquez really have value.
There is in addition, of course, another harmful effect. The enormous space given to García Márquez tarnishes the image of the entire English-American literature. Authors of extraordinary importance - Lezama Lima, Rulfo, Onetti, but it's painful having to be limited to name just a few names - are almost forgotten. Interesting young writers are completely ignored. While enjoying some reflected light, and therefore an undeserved credit, the authors in their approach to the stereotype paucity Marquez. This is the case of Luis Sepúlveda
The tam tam was started at least a year before. Were sent on time traveled to Bogota query for "friends and family." Then the book comes out and that same day, or a few days before, the critical consensus, Gabriel García Márquez, "maestro absoluto", "is back to offer another memorable expression of his exceptional gifts of storyteller." Reviewers extol "the supreme objective of the great writer," the power with which you tell the more sinister moments, "that" does not come to overshadow the delicate lyricism, moving. "For them not only" the author's style flames resplendent, as always marked by a radical poetics "but rather, the work is notable for the" visible search for sobriety. "
The review views briefly summarized here is entirely reserved for the corresponding reception Live to tell. Yet it is false. Rather than make up for in pages as they exit the last month, we reported quotes, completely identical, reserved in 1994 the novel Del amor y otros demonios . (Gabriel García Márquez, Del amor y otros demonios , Barcelona, \u200b\u200bMondadori, 1994. Ed it.: Love and other demons , trans. Angelo Morino, Milan, Mondadori, 1994. To do no wrong any Italian reviewer, the source is English: Miguel García-Posada, "Amor y posesiones. La nueva novela de García Márquez y masterly", El País , Madrid, April 23, 1994).
A septuagenarian author short of inspiration begins writing a torrential autobiography. Comes the first volume covering the first thirty years of life. There are nine hundred pages, reduced to a pitiful but luckily enough job of editing a little more than five hundred. In support of the book before its release, leaving a sea of \u200b\u200breviews. Normal.
But the question remains. Why García Márquez's books are - as we read each new issue, invariably, with a formula that is tiresome to quote a title by the same author - 'successes announced'. Why this unanimous apologetics reception, totally unjustified, if you look at the quality of the work. And how can it be that this author is held to the highest in the second half of the twentieth century?
answer the question this way: all the fault or merit of the establishment editorial. The public, the readers, are innocent, or slaves of a game played against them.
First, García Márquez like the 'reviewer normal'. García Márquez does not pose no risk. With him there are no surprises. Are you sure you can do a bit rich, do not shame them, without losing time to read the bloated pages of each new book.
For too many years García Márquez's books are all the same. For his work is the view with which, according to Borges, the critic Paul Groussac welcomed the new editions of the Diccionario de la Real Academia : Everyone does regret the past. In the reader's memory books, mere repetitions of each other, mingle. Each work appearing citation or rimasticatura the previous year. So this review is not a problem. We know what to write.
anyone know baste four sentences talking about the weird and wonderful world of Macondo, which is on the maps Aracataca. It's always nice easy to remember history reviewer's son who learns to telegraph to tell by listening to stories told by her grandmother. The writer who is an inveterate dreamer but that is also politically engaged. From there it's easy to pass to Latin America, the tropics, Cairaibi, the rhythms of bolero and salsa, hot sunshine and sunsets with amazing colors, trains, small cars plunge into the red green colored bus. (In this way, we can even run yet another report, another journey of a journalist in Cartagena and along the Rio Magdalena).
Moreover, the reviewer will feel gratified, by being against being able to handle the same style as the celebrated author of the work it presents. Because the style is coded, well identified, but easy to imitate.
What writes García Márquez is indistinguishable from what they write their reviews, one reviewer writes that this is indistinguishable from what he writes every other reviewer. Read this sentence: Vivir para recount "is a struggle with the nostalgia of the acid and oxide of time, to return in a masterful eight chapters fascinating adventure." I will not tell who wrote the sentence, because it is useless. It is evident that he could write the same García Márquez, who for decades incenses and imitates himself. But he could also write any lofty critic, as well as any journalist. Write a Nobel Prize as the best contemporary author, what satisfaction! And so, therefore, with reviews.
But of course, the incredible success of García Márquez was born not only from the pleasure of the reviewer. There's more.
global agreement for the publishing industry as a whole, García Márquez is, and is continuing, with more brilliance with each new season, the ideal author.
Because no such García Márquez's literary marketplace offers the most easy to sell: the literature of escape. These exotic themes, a world away (no matter if that does not exist) where it's nice to imagine being able to escape. A world that supports and strengthens the market of a package tour: holiday villages, travel easy. But García Márquez offers, and this has no competitors, including avoidance policy. He alone carries with it the imagination of a political era of easy revolutionary utopias, refers to the icon of Che Guevara, he alone is now offering a decent reading of the figure of Fidel Castro.
And again. García Márquez is the ideal author for Behind every book is always in mind the character. A particularly easy sell. Flaunts his leftist ideas, and all Latin American machismo, but we know that there is no reason to fear him. Its contradictions make him a pawn to handle. He had come to Europe in the fifties just because some news reports had made him unpopular with the dictatorship of Rojas Pinilla. In the sixties he left New York, where Castro was on behalf of the agency Prensa Latina, even when it seems that the landing at the Bay of Pigs is a success. Announces solemnly that no longer write a novel until the fall of Pinochet, but then changed his mind and public Love in the Time of Cholera . In the eighties, the rush to leave Colombia because they are afraid of being questioned by police investigating the guerrilla group M-19. And when it is still a sacred monster threat on several occasions to leave their country because of attacks on freedom of thought, rather than attacks that are the size of its copyright.
there is none like him. Only García Márquez rails against the Nobel Prize, branding him "senile bay," however, and the following year, having won it, without shame goes to pick it up.
is convenient to all that this author makes it easy to merchandise, goods more enjoyable to read than that produced by an Allende or Baricco. It is the Maradona of literature; Maradona as virtuous, with a mastery naive, with an innate ability to juggle the language - but a weak man, to blackmail. It is convenient to all this a standard entry in the Third World in Latin America. It suits the character is not worthy of our style and our refinement. While the incense, basically laugh at him. And in doing so we exploit the rich, forcing him into a role, enriching behind him.
Yet we should have more respect for this author. el Hundred Years of Solitude 'Autumn of the Patriarch remain masterpieces. But the masterpieces you save if you avoid the hypocrite, general apology. If the work is separated from the softness and decadence of the character-author. Instead, the publishing industry is pumping the character, any value his work. So we pursued the task of leveling everything down. Order that new books are sold, the imitation of the masterpiece, written in the style of the same Márquez Márquez, must appear to the reader indistinguishable from the texts of Márquez really have value.
There is in addition, of course, another harmful effect. The enormous space given to García Márquez tarnishes the image of the entire English-American literature. Authors of extraordinary importance - Lezama Lima, Rulfo, Onetti, but it's painful having to be limited to name just a few names - are almost forgotten. Interesting young writers are completely ignored. While enjoying some reflected light, and therefore an undeserved credit, the authors in their approach to the stereotype paucity Marquez. This is the case of Luis Sepúlveda
0 comments:
Post a Comment