1940, Marquez moved to Bogota, the capital. 1947 He entered the University of Bogota to study law and started his literary creation. During his college years, Marquez eagerly read the poems of the Golden Age in Spain, which laid a solid foundation for his later literary creation.
1948 dropped out of school because of the Colombian civil war. 1955, because of a series of articles exposing the shipwreck beautified by the government, he was forced to leave Colombia and become a reporter for the Observer in Europe. Soon the newspaper was seized by the Colombian government, so he was trapped in Europe. In the same year, he published his first novel, Dead Branches and Leaves. From 65438 to 0958, Marquez married his long-time lover Merced. From 65438 to 0959, Marquez worked for the Latin Society of Cuban News Agency in Bogota and new york, Cuba. 1959 was invited to attend the victory celebration of the Cuban revolution and worked in the Latin communication organization led by Ernesto Guevara. From 196 1 to 1967, Garcí a Má rquez's wife Mercedes, two sons Rodrigo and Gonzalo mainly lived in Mexico, where he worked as a journalist, a public relations agent, wrote screenplays and continued to write novels. After the publication of One Hundred Years of Solitude in 1967, it was immediately praised as a masterpiece by critics and translated into many languages, which won him various awards and enabled Marquez to devote himself to writing. 1972, another extraordinary collection of his short stories was published, an incredible tragic story-innocent Ellen Tila and cruel grandmother. 1975, he published The Decline of Parents, a novel about dictators, which took Marquez a long time to complete. In the same year, he held a literary strike to protest against the coup in Chile and postponed writing for five years.
After 1975, Marquez lived in Mexico City most of the time, although his family also had apartments in Paris and Bogota. He dabbled in many aspects of journalism and published many public political declarations. He is a real leftist and has a good personal relationship with Fidel Castro of Cuba. But he often reminds interviewers that he has never been a party member. He firmly believes that Latin Americans should have the freedom to find solutions to their own problems. 1982 was awarded Nobel Prize in Literature as the chairman of the French-Spanish Cultural Exchange Committee. In the same year, an earthquake occurred in Colombia and he returned to his motherland. 1985 "Love in Cholera Period" was published, which was called "an old-fashioned happy love story" by Garcia Marquez. 1986, the first edition of his reportage "The Adventures of Studying in Chile" was publicly destroyed by the Chilean government in Santiago, but this incident ensured the best-selling of subsequent editions. This novel describes the experience of a famous film director in exile who secretly returned to his native Chile to shoot a documentary about people's life under Pinochet's government. The thought of "loneliness" runs through Marquez's whole creative process, and he describes the deepest and most essential "loneliness" in human mind with his own words. Marquez pointed out the crux of loneliness to people more than once: explaining the reality of our lives with other people's models can only make us look more strange and feel more lonely. With death as the background, Marquez described loneliness under various life phenomena. Such as: loneliness in dreams, loneliness in difficulties, loneliness when facing the death of others, loneliness caused by inhumanity, etc.
In a sense, the idea of "loneliness" came into being because Marquez's creative idea was to reveal to readers the closed, backward, corrupt and dictatorial social atmosphere in Colombia and Latin America in the first half of the 20th century. Garcia Marquez's One Hundred Years of Solitude is such a successful flower. Through implicit expression and delicate description, and with a calm narrative tone, the author makes readers slowly realize the deeper meaning of loneliness from the uncertainty of images, and makes people enter more rational thinking and face their own life and society. It has a magical color that is also true and illusory, and it is unique. "It creates a world of its own, a condensed universe, a noisy but vivid and credible reality, and reflects the wealth and poverty of a continent and its people."
For another example, his short story The Old Man with big wing fictionalized the story of an angel in distress, which showed the author's superb narrative skills and sympathy for others. The journey of "angel" in the text is not only a process to show the hypocrisy, cruelty and selfishness of the world and the gap between the world and God, that is, the world and virtue, but also a process to dispel the ultimate religious belief, rational civilization and Logocentrism in traditional metaphysics, and a process to reveal uncertain factors, so that readers can get rid of the boundaries of time and space, cut into the text from different angles, examine the text and reconstruct the text according to reality. In the famous short story "Tuesday Nap Time", the author vividly describes the living conditions of the people in South America through the story of the mother's grave for her son. Her solemn expression and meaningful answer tortured the hearts of the townspeople and the South Beauty. The dramatic change of characters makes the tenacious image of mother jump from the page, and also profoundly metaphors the national character and spiritual existence of Latin Americans. In the novel No Parents, he shows the rise and fall of dictators through complicated details, exposes their cruel, tyrannical, decadent and incompetent nature, and exposes the crimes of foreign invaders. Nicanor, the hero of the novel, is a real despot. As the president of the Republic of China, he is greedy for power, vicious, full and careless. The works show him incisively and vividly, and the predatory nature of the invaders is also profound and powerful. All Marquez's creative texts have a key detail of recalling the past, which involves an adult's memory of childhood, and memory involves self-identification and understanding of his mission. Identity is not an essential existence, but is established from the tiny fragments of memories through literary narration. Literary memory is not a simple reproduction, but a reconstruction through imagination. In his view, realistic literary creation includes not only the true representation of objective things, but also the true representation of the subjective world. Magic and magic do exist in Latin America, and his works are only true representations. He has always stressed that only by linking, unfolding, reorganizing and reconstructing the memories under the dual oppression of reason and system, sorting out scattered memories into narratives, and condensing scattered experiences to make them stronger, more concentrated and deeper can we establish the identity of individuals or ethnic groups. Marquez's rich life background and non-single acceptance and absorption make his creation present a strange and changeable style. Marquez often said: "Learning to write should always follow the example of sages. "From his works, we can see the influence of Kafka, Hemingway, Faulkner and Cervantes.
The novel is as close to the reality of Colombia as possible, and the narrative language is concise and lively (according to Garcia Marquez's own statement, it is a very economical language that he learned from Hemingway with great efforts). The novel pays attention to structure, clear perspective and precise details. If we put aside the theme of violence reflected in the novel and look at this type of novel from the perspective of language, its achievements cannot be underestimated. Garcí a Má rquez's novels are magical realism, which "hides the truth" and reflects, embodies and implies real life with magical, bizarre and nonexistent things and phenomena in real life. On the one hand, this kind of expression can create conditions for inheriting the national cultural heritage (traditional consciousness, myths and legends, folk stories and religious beliefs) in novel creation, on the other hand, it also provides a very broad world for the development of the theme, the portrayal of characters and the display of creative art. Macondo itself is a magical world, so its history, how bizarre and ridiculous the characters are, are understandable and natural. In this way, it provides a broad world for the author to explore the theme more deeply.
Garcí a Má rquez is one of the most distinctive writers of magical realism. The writer's concern and sensitivity to "non-existence" in real life is reflected in concrete novels, which are not only poetic and beautiful, but also poetic. This breakthrough is really serious. Writers' expression of "non-existence" in real life not only greatly broadens their understanding of Latin American political reality, but also provides rich possibilities for the narrative rules of novels, which is also an outstanding contribution of magical realism in ideological aesthetics.
Garcí a Má rquez turned the dead into the living among the dead leaves, let them stand up from the grave and guide him. Through the tortuous monologue of a corpse in a coffin, the story traces the rise and fall of Macondo and reflects the fate of a three-generation family. Three generations, each generation has a representative as the narrator in the story. The first to appear was an old colonel. His first wife died in childbirth, and later he got a daughter named Isabel, who was full of enthusiasm and personality. Abandoned by an ungrateful husband, she lives with her parents in an ancestral house-exactly like Garcia Marquez's grandfather's house. The old colonel, Isabel and her son, the shadow of Garcia Marquez, are witnesses to this story.
There are many strange and magical things in One Hundred Years of Solitude, but they are not difficult to understand, and they all have specific meanings and references. For example, Ursula's great-granddaughter, Rameides, known as the beautiful girl, was so charming that men were fascinated by her, and a foreign gentleman died because she couldn't get her love. But she didn't know the doomed fate of her charming woman until the last moment when she stayed on earth. She brings disaster to people every day In the memory of Garcí a Má rquez's childhood and adolescence, his hometown Alacata is special, both magical and ordinary: it is so fleeting, like a hunch; It is so eternal, just like the reappearance of some forgotten scenes. It is not so much a place as an atmosphere. It exists in every corner. But it doesn't exist completely anywhere. Marquez's eternal, floating, mysterious and magical impression of his childhood and adolescence became an inexhaustible source of his later novel creation. In his novels, Alakataka becomes "Macondo". From his first novel Dead Leaves to One Hundred Years of Solitude, he wrote Macondo, which can be said to be a series of novels.
The theme of Garcí a Má rquez's novels is to reveal "Macondo" who is poor, backward, closed and conservative, ignorant, filled with mental toxins and suffering from diseases. After reading his novels, readers will naturally come to the conclusion that Macondo will inevitably collapse. Completely disappear from the earth. "Marcondo" in Marquez's novels is a microcosm of Colombia to a great extent, and its life reality reflects the life reality of the whole Colombia and even the whole Latin American continent, with far-reaching political, social and cultural background.