Search Results

“... and incomprehensible skirmishes. More disappointingly, this lurid little epic, a combination of Gabriel García Márquez 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 career, from his birth in an Indian ...”

“... explorations of Doris Lessing or with the ludic excavations of Angela Carter. Or with Philip Roth, Gabriel García Márquez 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 considered. The wits. I would put her alongside Ivy ...”

“... Butler says nothing about Günter Grass, nothing about the younger Latin American writers whom Gabriel GarciaMarquez 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 ...”

“... playbook, indiscriminately killing anyone suspected of sympathising with the guerrillas. Gabriel García Márquez, 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 M-19. He later tried unsuccessfully to use his ...”

“... to the inclusive ‘like’: ‘writers like Lawrence, Jean Giono, George Eliot, Traven, Tolstoy, Gabriel GarciaMarquez, 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 GarciaMarquez and Mario Vargas ...”

“... takes the opportunity to quote from One Hundred Years of Solitude (‘by the Colombian novelist Gabriel GarciaMarquez’) 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 ...”

“... to justify or explain it. In this respect, Salman Rushdie is closer to a novelist of another kind, Gabriel GarciaMarquez, 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 ...”

“... left looking like a Floridian pendant (or a hammock-dwelling pendant Floridian) to the Colombian Gabriel García Márquez; 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 Arcadio protagonists, the other his Ramon ...”

“... of Isabel Allende first began appearing in English, so that her name could be added to that of Gabriel García Márquez 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 moniker ‘magic realism’, and the career ...”

“... I engage in conversation, has a fascinating story to deliver. The details I find so alluring in Gabriel García Márquez 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 suburbs, writing divorce scenes symbolised by the very ...”

“... was the only dinner he gave – Anthony Powell got fussy about the Rioja. There were many others. Gabriel García Márquez 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 dining room door to see who else was at the ...”

“... of the cultural or the political, the economic or the national. I mean the publication of Gabriel García Márquez’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 a new kind of novelising. Influence is ...”

“... Augusto Roa Bastos’s I the Supreme (1974), Alejo Carpentier’s Reasons of State (1974), Gabriel García Márquez’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 of the four. This is a virtue, but not ...”

“... to be set in the village and the jungle, as in the exemplary magical-realist ‘world novel’, Gabriel García Márquez’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 speculated that this novel and others like ...”