Mandalit del Barco, Rafael Romo

abriel Garcia Marquez was and remains Latin Americas best-known writer， spinning epic tales since the 1940s， the master of a style known as magic realism.

He started out as a newspaper reporter， and journalism remained a passion throughout his life， as did support for left-wing politics. It was that mix of real life and the 1）bizarre that gave birth to the literary 2）genre known as magic realism. It reached its peak of popularity in his most famous novel， One Hundred Years of Solitude， which tells of the extraordinary events of one family in a small town remarkably similar to the one where he grew up.

（The first line from One Hundred Years of Solitude）

Many years later， as he faced the firing squad， Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.

Martin： The first two lines， the first time you read them， you just felt： Ive read this before. Where does this come from？—which is what he felt when he first， himself， thought up the first line of the book.

By the time Gabriel Garcia Marquez won the Nobel Prize in Literature in 1982， he was already an internationally acclaimed writer. The Colombian authors works had already been published in multiple languages.

Garcia Marquez was among whats known as Latin Americas literature boom of the 1960s and70s， along with Mexican writer 5）Carlos Fuentes and Peruvian author 6）Mario Vargas Llosa， with whom Garcia Marquez differed sharply in his political beliefs. The Colombian got his leftist leanings from his grandfather. They， too， shaped his writing.

Marquez： （via translator） I write mostly about the reality I know， about the reality of Latin America. Any interpretation of this reality in literature must be political. I cannot escape my own ideology when I interpret reality in my books； its inseparable.

Gabriel Garcia Marquez titled his 1982 Nobel Prize acceptance speech “The Solitude of Latin America.”

Marquez： （via translator） We， the inventors of tales， who will believe anything， feel entitled to believe that it is not yet too late to engage in the creation of a new and sweeping 7）utopia of life. Ariel Dorfman （Chilean Writer）： Garcia Marquez is speaking about all the people who are marginal to history， who have not had a voice. He gives a voice to all those who died. He gives a voice to all those who are not born yet. He gives a voice to Latin America.

加夫列爾·加西亞·馬爾克斯曾經(jīng)是，也一直是拉丁美洲最有名的作家。他從上世紀(jì)四十年代開(kāi)始創(chuàng)作史詩(shī)般的宏大故事，他是魔幻現(xiàn)實(shí)主義創(chuàng)作流派的大師。

他從一名報(bào)社的記者起步。在他的一生中，新聞始終是他鐘愛(ài)的職業(yè)；同時(shí)，他對(duì)左派政治的支持也一如既往。正是現(xiàn)實(shí)生活與種種荒誕的交織成就了魔幻現(xiàn)實(shí)主義這一文學(xué)流派，這個(gè)流派隨著他最出名的作品《百年孤獨(dú)》的面世而大受追捧。該書(shū)講述了一個(gè)家族在小鎮(zhèn)上非同尋常的經(jīng)歷，故事中的小鎮(zhèn)與馬爾克斯成長(zhǎng)的地方有著驚人的相似之處。

馬爾克斯于1967年出版的《百年孤獨(dú)》讓他在文壇上一舉成名。在作者的有生之年，該書(shū)在全世界的銷(xiāo)量超過(guò)三千萬(wàn)本，他的作品引起了公眾對(duì)魔幻現(xiàn)實(shí)主義這個(gè)拉丁美洲文學(xué)流派的關(guān)注，現(xiàn)實(shí)世界與虛構(gòu)世界在魔幻現(xiàn)實(shí)主義的作品中發(fā)生碰撞，以至于讀者難以分清彼此。

杰拉爾德·馬?。R爾克斯的傳記作者）：你必須身處二十世紀(jì)六十年代，生活在甲殼蟲(chóng)樂(lè)隊(duì)風(fēng)靡一時(shí)，第三世界革命風(fēng)起云涌，人們服用迷幻藥，諸多事情相繼發(fā)生的年代，這樣你才能明白這本書(shū)第一頁(yè)的內(nèi)容有著怎樣的震撼力。當(dāng)時(shí)，似乎所有人都在期待著這類(lèi)作品的誕生，只是直到作品面世，人們才意識(shí)到自己對(duì)它的期待。這是當(dāng)時(shí)的一股思潮。（《百年孤獨(dú)》的第一句話(huà)）

多年以后，奧雷連諾上校站在行刑隊(duì)面前，會(huì)想起父親帶他去見(jiàn)識(shí)冰塊的那個(gè)遙遠(yuǎn)的下午。

馬丁：你第一次讀這本書(shū)開(kāi)頭兩行的時(shí)候，你會(huì)覺(jué)得：我以前讀過(guò)這個(gè)，究竟是在哪兒見(jiàn)過(guò)呢？——作者本人在寫(xiě)下這兩行文字的時(shí)候，也有同樣的感覺(jué)。

到了1982年，加夫列爾·加西亞·馬爾克斯獲得諾貝爾文學(xué)獎(jiǎng)的時(shí)候，他已經(jīng)是一位在國(guó)際上備受稱(chēng)贊的作家了。這位哥倫比亞作家的作品被譯成多種語(yǔ)言出版。

在二十世紀(jì)六七十年代，拉丁美洲出現(xiàn)了文學(xué)爆炸，加西亞·馬爾克斯和墨西哥作家卡洛斯·富恩特斯？、秘魯作家馬里奧·巴爾加斯·略薩都是當(dāng)時(shí)涌現(xiàn)出來(lái)的作家。不過(guò)，加西亞·馬爾克斯的政治信仰與這兩位作家有著天壤之別，這位哥倫比亞作家的左傾思想源自他祖父，他的創(chuàng)作也體現(xiàn)了這些思想。

馬爾克斯：（通過(guò)翻譯）我基本上寫(xiě)的都是我自己了解的現(xiàn)實(shí)，關(guān)于拉丁美洲的現(xiàn)實(shí)世界，而文學(xué)對(duì)這個(gè)現(xiàn)實(shí)世界的詮釋必須體現(xiàn)政治觀點(diǎn)。我在創(chuàng)作過(guò)程中對(duì)現(xiàn)實(shí)的詮釋不可能繞過(guò)我自己的思想信仰，兩者是密不可分的。

加夫列爾·加西亞·馬爾克斯1982年在諾貝爾獎(jiǎng)?lì)C獎(jiǎng)禮上的獲獎(jiǎng)致辭標(biāo)題為《拉丁美洲的孤獨(dú)》。

馬爾克斯：（通過(guò)翻譯）我們是故事的創(chuàng)造者，我們可以相信任何東西，我們認(rèn)為我們有資格相信，現(xiàn)在投身于創(chuàng)造一個(gè)全新的烏托邦還為時(shí)不晚。

阿列爾·多夫曼（智利作家）：加西亞·馬爾克斯的創(chuàng)作圍繞所有生活在歷史邊緣的人們，那些無(wú)法發(fā)出聲音的人們。他讓那些已經(jīng)故去的人發(fā)出聲音，他讓所有還未出生的人發(fā)出聲音，他是拉丁美洲的喉舌。