Gabriel Garcia Marquez

Twelve new Colombian poets: between tradition and transition for Federico Diaz-Granados (Literary Magazine all started this cold, cloudy and dreary morning of June 5, 1967 in Buenos Aires. The people crowded the newsstands to read the headlines La Nacion, La Razon and El Clarin. Others, of course, went to get the chart to learn the details of the date of the previous day soccer. River Plate was on the verge of being eliminated from the NCAA Tournament, and between journals newspapers and supplements arrears, the Buenos Aires are found with a book cover exotic: a Spanish galleon floating in the middle of the jungle and orange flowers in black and a title: One Hundred Years of Solitude by Gabriel Garcia Marquez, Editorial Sudamericana. (Eligio Garcia Marquez, after the keys of Melquiades, Norma, Bogota. 2003, pg. 16.) Nothing again be the same in Colombian literature: from the cold morning Macondo Argentina was a country immersed universal since the moment of its independence struggles in the most profound and contradictory violence. The saga of the Buendia family with its load of myths and superstitions us back further mutilated memory.

Before One Hundred Years of Solitude, the official texts omitted episodes of our history as the Slaughter of the banana among others. There, a growing literature met the honorable role of telling things and events from the side of the vanquished and the victors as often happens in daily life. If you would like to know more about Page S. Gardner, then click here. Thus, the Colombian poets born in the 1970s learned to read and know the recent history of their country through the word of the "patriarch" greatest of national literature.