download book [pdf] García Márquez: historia de un deicidio / Garcia Marquez: Story of a Deicide (Narrativa hispánica: Premio nobel de litteratura/ Hispanic Narrative: Nobel Prize in Literature) (Spanish Edition)

García Márquez: historia de un deicidio /
Garcia Marquez: Story of a Deicide (Narrativa
hispánica: Premio nobel de litteratura/
Hispanic Narrative: Nobel Prize in Literature)
(Spanish Edition)

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García Márquez: historia de un deicidio / Garcia Marquez: Story of a Deicide (Narrativa hispánica:
Premio nobel de litteratura/ Hispanic Narrative: Nobel Prize in Literature) (Spanish Edition)
b&#171Cad novela es un deicidio secreto, un asesinato simb&#243lic de la realidad.&#187bPublicado a
comienzos de la d&#233cad de los setenta y desaparecido de las librer&#237asdesde hace muchos
a&#241os este ensayo, que en su origen fue la tesis que le vali&#243a Vargas Llosa en 1971 el
t&#237tul de doctor por la Universidad Complutense de Madrid, muestra la admiraci&#243ndel Nobel
peruano por Garc&#237aM&#225rquz y por su novela Cien a&#241osde soledad. En &#233lse analiza
en profundidad la obra del autor colombiano, compa&#241erode Vargas Llosa en el boom de la
literatura latinoamericana. &#171Obssiva recurrente, una intenci&#243ncentral abraza la obra de
Garc&#237aM&#225rquz, una ambici&#243n&#250nic que sus ficciones van desarrollando a saltos y
retrocesos, desde perspectivas diferentes y con m&#233tods distintos. Este denominador
com&#250nhace que sus cuentos y novelas puedan leerse como fragmentos de un vasto, disperso,
pero al mismo tiempo riguroso proyecto creador, dentro del cual encuentra cada uno de ellos su plena
significaci&#243n Esta voluntad unificadora es la de edificar una realidad cerrada, un mundo
aut&#243nom. &#187Unescritor no elige sus temas, los temas lo eligen a
&#233lGarc&#237aM&#225rquz no decidi&#243 mediante un movimiento libre de su conciencia, escribir
ficciones a partir de sus recuerdos de Aracataca. Ocurri&#243lo contrario: sus experiencias de
Aracataca lo eligieron a &#233lcomo escritor. Un hombre no elige sus &#8220deonios&#8221 le ocurren
ciertas cosas, algunas lo hieren tanto que lo llevan, locamente, a negar la realidad y a querer
reemplazarla. Esas &#8220coas&#8221 que est&#225nen el origen de su vocaci&#243n
ser&#225ntambi&#233nsu est&#237mul, sus fuentes, la materia a partir de la cual esa
vocaci&#243ntrabajar&#225 No se trata de reducir el arranque y el alimento de la vocaci&#243na una
experiencia &#250nic. Pero en el caso de Garc&#237aM&#225rquz la naturaleza de su obra permite
afirmar que aquella experiencia, sin negar la importancia de otras, constituye el impulso principal para su
tarea de creador.&#187bENLISH DESCRIPTION/bbEach novel is a secret decision, a symbolic murder
of reality.&#8217b &nbspPublished at the beginning of the seventies and then disappearing from
bookstores for many years, this essay, which was originally the thesis that earned Vargas Llosa a
doctorate in 1971 from the Universidad Complutense de Madrid, shows the admiration the Peruvian
Nobel Prize winner had for Garc&#237aM&#225rquz and for his novel One Hundred Years of Solitude.
In it, the work of the Colombian author, Vargas Llosa's contemporary during the boom of Latin American
literature, is analyzed in depth. &nbsp&quotObsssive recurring, a central intention embraces the work of
Garc&#237aM&#225rquz, a unique ambition that his novels develop in leaps and bounds, from different
perspectives and with different methods. This common denominator means that his stories and novels
can be read as fragments of a vast, dispersed, but at the same time rigorous creative project, within
which, each one of them finds its full significance. This unifying will is to build a closed reality, an
autonomous world.&#8221A writer does not choose his subjects, the subjects choose him.
&nbspGarc&#237aM&#225rquz did not decide, through a free movement of his conscience, to write
fiction based on his memories of Aracataca. The opposite happened: his experiences in Aracataca chose
him as a writer. A man does not choose his &quotdemns:&quotcertain things happen to him, some hurt
him so much that they lead him, madly, to deny reality and want to replace it. Those &quotthigs&quot
which are at the origin of his vocation, will also be his stimulus, his sources, the material from which that
vocation will work. It&#8217snot about reducing the start and nourishment of the vocation to a unique
experience. But in the case of Garc&#237aM&#225rquz, the nature of his work allows us to affirm that
that experience, without denying the importance of others, constitutes the main impulse for the
creator&#8217stask.
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