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“... and incomprehensible skirmishes. More disappointingly, this lurid little epic, a combination of Gabriel GarcíaMárquez and a particularly nasty spaghetti Western, is rather baldly described. Ridley gives us a good idea of what Maximilian was like and a little of Charlotte. But Juárez remains shadowy, although his ...”

“... explorations of Doris Lessing or with the ludic excavations of Angela Carter. Or with Philip Roth, Gabriel GarcíaMárquez or Kingsley Amis. What now seems striking is how utterly beyond this Bainbridge was. If she is to be seen as part of any tradition it is one that is long-standing, wide-ranging, little ...”

“... Butler says nothing about Günter Grass, nothing about the younger Latin American writers whom Gabriel Garcia Marquez plausibly described as the best alternative to the sterility of the nouveau roman. Thomas Pynchon appears only in lists of names, and Gravity’s Rainbow, arguably the most important work of fiction in English since the war, never appears ...”

“... playbook, indiscriminately killing anyone suspected of sympathising with the guerrillas. Gabriel GarcíaMárquez, horrified by the violence, left for Mexico in a hurry in 1981, after hearing that the intelligence services were looking into his recent trip to Cuba and investigating his possible ties to ...”

“... to the inclusive ‘like’: ‘writers like Lawrence, Jean Giono, George Eliot, Traven, Tolstoy, Gabriel Garcia Marquez, and, of course, Sturt’. The ‘of course’ is part of a bullying knowingness that never lets up. If you don’t believe me, turn to page 69, where you will find all the following ...”

“... no less astonishing, if far more melancholy creole imaginings of Miguel Asturias, Carlos Fuentes, Gabriel Garcia Marquez and Mario Vargas ...”

“... takes the opportunity to quote from One Hundred Years of Solitude (‘by the Colombian novelist Gabriel Garcia Marquez’) and Robert Lowell’s ‘Caracas’. Yet at no point does Miss Didion give a sense of being someone who uses literature as a constant model or ideal, something shored up against the randomness and babble that is fundamental to her ...”

“... to justify or explain it. In this respect, Salman Rushdie is closer to a novelist of another kind, Gabriel Garcia Marquez, who has pictured a Latin American society as a habitat of fantasy, where it is timeless and domesticated and as natural as breathing. But whatever its international sympathies, we can celebrate Midnight’s Children as an English novel: a ...”

“... left looking like a Floridian pendant (or a hammock-dwelling pendant Floridian) to the Colombian Gabriel GarcíaMárquez; the good-humoured Latinity of the vocabulary, the flexibility of the constructions, the originality of the combinations, the gorgeousness of the imagery; the one with his Aureliano and José ...”

“... of Isabel Allende first began appearing in English, so that her name could be added to that of Gabriel GarcíaMárquez and, um, Jorge Luis Borges, and a decades-old phenomenon combining certain characteristically Post-Modern elements with certain characteristically Gothic elements could be given the rejuvenating ...”

“... I engage in conversation, has a fascinating story to deliver. The details I find so alluring in Gabriel GarcíaMárquez are here, awaiting their recording angel.’ Then, with a perverse leap of logic: I suddenly feel a vague pity for all those writers who have to ply their trade from sleepy American ...”

“... was the only dinner he gave – Anthony Powell got fussy about the Rioja. There were many others. Gabriel GarcíaMárquez came to one, and when Hugh went to get more wine from the cupboard downstairs, an after-dinner guest arrived. It was V.S. Naipaul. My father found him looking through the keyhole of the closed ...”

“... of the cultural or the political, the economic or the national. I mean the publication of Gabriel GarcíaMárquez’s One Hundred Years of Solitude in 1967, which not only unleashed a Latin American ‘boom’ on an unsuspecting outside world but also introduced a host of distinct national literary publics to ...”

“... Augusto Roa Bastos’s I the Supreme (1974), Alejo Carpentier’s Reasons of State (1974), Gabriel GarcíaMárquez’s Autumn of the Patriarch (1975), and now Mario Vargas Llosa’s The Feast of the Goat (2000). The time lag is probably significant, since the latest book is the most literal and least hypnotised ...”

“... to be set in the village and the jungle, as in the exemplary magical-realist ‘world novel’, Gabriel GarcíaMárquez’s One Hundred Years of Solitude (1967), which was written in one ‘world’ language (Spanish) and translated into another, English, three years after its first appearance. Franco Moretti has ...”