Collected Stories

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Overview

Collected here are twenty-six of Gabriel Garcia Marquez's most brilliant and enchanting short stories, presented in the chronological order of their publication in Spanish from three volumes: Eyes of a Blue Dog,Big Mama's Funeral, and The Incredible and Sad Tale of lnnocent Eréndira and Her Heartless Grandmother. Combining mysticism, history, and humor, the stories in this collection span more than two decades, illuminating the development of Marquez's prose and exhibiting the themes of family, poverty, and death that resound throughout his fiction.

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More About This Book

Overview

Collected here are twenty-six of Gabriel Garcia Marquez's most brilliant and enchanting short stories, presented in the chronological order of their publication in Spanish from three volumes: Eyes of a Blue Dog,Big Mama's Funeral, and The Incredible and Sad Tale of lnnocent Eréndira and Her Heartless Grandmother. Combining mysticism, history, and humor, the stories in this collection span more than two decades, illuminating the development of Marquez's prose and exhibiting the themes of family, poverty, and death that resound throughout his fiction.

Editorial Reviews

John Updike
The stories are rich and startling in their matter, and confident and eloquent in their manner....They are -- the word cannot be avoided -- magical.
— The New Yorker

Product Details

  • ISBN-13: 9780060932688
  • Publisher: HarperCollins Publishers
  • Publication date: 9/28/1999
  • Edition description: Reprint
  • Pages: 352
  • Sales rank: 147,019
  • Series: Perennial Classics Series
  • Product dimensions: 5.31 (w) x 8.00 (h) x 0.79 (d)

Meet the Author

Gabriel García Márquez
Gabriel García Márquez
Gabriel GarcÍa MÁrquez was born in 1928 in the town of Aracatca, Colombia. Latin America's preeminent man of letters, he is considered by many to be one of the greatest writers of the twentieth century. He began his writing career as a journalist and is the author of numerous works of fiction and nonfiction, including One Hundred Years of Solitude and Love in the Time of Cholera. Gabriel MÁrquez was awarded the Nobel Prize for Literature in 1982.

Biography

Gabriel García Márquez is the product of his family and his nation. Born in the small coastal town of Aracataca in northern Colombia, he was raised by his maternal grandparents. As a child, he was mesmerized by stories spun by his grandmother and her sisters -- a rich gumbo of superstitions, folk tales, and ghost stories that fired his youthful imagination. And from his grandfather, a colonel in Colombia's devastating Civil War, he learned about his country's political struggles. This potent mix of Liberal politics, family lore, and regional mythology formed the framework for his magical realist novels.

When his grandfather died, García Márquez was sent to Sucre to live (for the first time) with his parents. He attended university in Bogotá, where he studied law in accordance with his parents' wishes. It was here that he first read The Metamorphosis by Franz Kafka and discovered a literature he understood intuitively -- one with nontraditional plots and structures, just like the stories he had known all his life. His studies were interrupted when the university was closed, and he moved back north, intending to pursue both writing and law; but before long, he quit school to pursue a career in journalism.

In 1954 his newspaper sent García Márquez on assignment to Italy, marking the start of a lifelong self-imposed exile from the horrors of Colombian politics that took him to Barcelona, Paris, New York, and Mexico. Influenced by American novelist William Faulkner, creator of the fictionalized Yoknapatawpha County, and by the powerful intergenerational tragedies of the Greek dramatist Sophocles, García Márquez began writing fiction, honing a signature blend of fantasy and reality that culminated in the 1967 masterpiece One Hundred Years of Solitude. This sweeping epic became an instant classic and set the stage for more bestselling novels, including Love in the Time of Cholera, Love and Other Demons, and Memories of My Melancholy Whores. In addition, he has completed the first volume of a shelf-bending memoir, and his journalism and nonfiction essays have been collected into several anthologies.

In 1982, García Márquez was awarded the Nobel Prize for Literature. In his acceptance speech, he called for a "sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth." Few writers have pursued that utopia with more passion and vigor than this towering 20th-century novelist.

Good To Know

Gabriel José García Márquez' affectionate nickname is Gabo.

García Márquez' first two novellas were completed long before their actual release dates, but might not have been published if it weren't for his friends, who found the manuscripts in a desk drawer and a suitcase, and sent them in for publication.

    1. Also Known As:
      Gabriel José García Márquez
    2. Hometown:
      Mexico City, Mexico
    1. Date of Birth:
      March 6, 1928
    2. Place of Birth:
      Aracataca, Colombia
    1. Education:
      Universidad Nacional de Colombia, 1947-48, and Universidad de Cartagena, 1948-49

Read an Excerpt

The Third Resignation

There was that noise again. That cold, cutting, vertical noise that be knew so well now; but it was coming to him now sharp and painful, as if he had become unaccustomed to it overnight.

It was spinning around inside his empty head, dull and biting. A beehive had risen up inside the four walls of his skull. It grew larger and larger with successive spirals, and it beat on him inside, making the stem of his spinal cord quiver with an irregular vibration, out of pitch with the sure rhythm of his body. Something had become unadapted in his human material structure; something that had functioned normally "at other times" and now was hammering at his head from within with dry and hard blows made by the bones of a fleshless, skeletal hand, and it made him remember all the bitter sensations of life. He had the animal impulse to clench his fists and squeeze his temples, which sprouted blue and purple arteries with the firm pressure of his desperate pain. He would have liked to catch the noise that was piercing the moment with its sharp diamond point between the palms of his sensitive hands. The figure of a domestic cat made his muscles contract when he imagined it chasing through the tormented corners of his hot, fever-torn head. Now he would catch it. No. The noise had slippery fur, almost untouchable. But he was ready to catch it with his well-learned strategy and hold it long and tightly with all the strength of his desperation. He would not permit it to enter through his ear again, to come out through his mouth, through each one of his pores or his eyes, which rolled as it went through and remained blind, looking at the flight of the noisefrom the depths of the shattered darkness. He would not allow it to break its cut-glass crystals, its ice stars, against the interior wall of his cranium. That was what that noise was like: interminable, like a child beating his head against a concrete wall. Like all hard blows against nature's firm things. But if he could encircle it, isolate it, it would no longer torment him. Go and cut the variable figure from its own shadow. Grab it. Squeeze it, yes, once and for all now. Throw it onto the pavement with all his might and step on it ferociously until he could say, panting, that he had killed the noise that was tormenting him, that was driving him mad, and that was now stretched out on the ground like any ordinary thing, transformed into an integral death.

But it was impossible for him to squeeze his temples. His arms had been shortened on him and were now the limbs of a dwarf. small, chubby, adipose arms. He tried to shake his head. He shook it. The noise then appeared with greater force inside his skull, which had hardened, grown larger, felt itself more strongly attracted by gravity. The noise was heavy and hard. So heavy and hard that once he had caught and destroyed it, he would have the impression that he had plucked the petals off a lead flower.

He had heard the noise with the same insistence "at other times." He had heard it, for instance, on the day he had died for the first time. The time-when he saw a corpse-that he realized it was his own corpse. He looked at it and he touched it. He felt himself untouchable, unspatial, nonexistent. He really was a corpse and he could already feel the passage of death on his young and sickly body. The atmosphere had hardened all through the house, as if it had been filled with cement, and in the middle of that block-where objects had remained as when it had been an atmosphere of air-there he was, carefully placed inside a coffin of hard but transparent cement. "That noise" had been in his head that time too. How distant and how cold the soles of his feet had felt there at the other end of the coffin, where they had placed a pillow, because the box was still too big for him and they had to adjust it, adapt the dead body to its new and last garment. They covered him with white and tied a handkerchief around his jaw; mortally handsome.

He was in his coffin, ready to be buried, and yet he knew that he wasn't dead. That if he tried to get up he could do it so easily. "Spiritually," at least. But it wasn't worth the trouble. Better to let himself die right there; die of "death," which was his illness. It had been some time since the doctor had said to his mother, dryly:

"Madam, your child has a grave illness: he is dead. Nevertheless," he went on, "we shall do everything possible to keep him alive beyond death. We will succeed in making his organic functions continue through a complex system of autonutrition. Only the motor functions will be different, his spontaneous movements. We shall watch his life through growth, which, too, shall continue on in a normal fashion. It is simply 'a living death.' Areal and true death... "

He remembered the words but in a confused way. Perhaps he had never heard them and it was the creation of his brain as his temperature rose during the crisis of typhoid fever.

While he was sinking into delirium. When he had read the tales of embalmed pharaohs. As his fever rose, he felt himself to be the protagonist. A kind of emptiness in his life had began there. From then on he had been unable to distinguish, to remember what events were part of his delirium and what were part of his real life. That was why he doubted now. Perhaps the doctor had never mentioned that strange "living death." It was illogical, paradoxical, simply contradictory. And it made him suspect now that he really was dead. That he had been for eighteen years...

Collected Stories. Copyright © by Gabriel Garcia Marquez. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

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  • Anonymous

    Posted May 13, 2003

    Collected Stories

    Overall these stories carry much in depthness in detail and you can feel everything that marquez wants you to feel at that moment, but not much emotion was woven in with the plot. Not that the stories were focused on the concept of love but I feel that if he let the story become a little more personal that it would be easier to relate to and more addicting. The story reads fairly easy considering the translations don't flow so grammatically from one language to the next but the point is made. These stories carry good messages and I would recommend them if you are interested in this style of writing.

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  • Anonymous

    Posted December 25, 1999

    Describing for the collected stories

    very well-collected group of some wonderfull described stories .. Each story has a very nice Title , and they are very atractiv..

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    Posted July 19, 2011

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    Posted January 19, 2009

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    Posted December 5, 2009

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