Aracataca, Colombia, 1927 - México D.F., México , 2014

Gabriel García Márquez—affectionately known as Gabo—was one of the most important and influential figures in world literature. He began his career as a journalist while he studied Law. His dedication to journalism went hand in hand with his literary vocation, and his life as a reporter did not stop until 1967, when the international success of Cien años de soledad (One Hundred Years of Solitude) allowed him to settle in Barcelona and exclusively dedicate himself to literature. In addition to his undeniable genius as a writer (he won the Nobel Prize for Literature in 1982 and his works have been translated into most of the world's languages), García Márquez is known for his intellectual side and for being committed to the great problems of Latin America. As the highest representative of "magical realism", Gabo created one of the richest and most complete narrative worlds in the Spanish literature during the 20th century.

  • “García Márquez is a truly splendid example of something very rare: literature that is much loved by many people.” Juan García Hortelano
  • “Perhaps the greatest revelation in the Spanish language since Don Quixote of Cervantes.” Pablo Neruda
  • “For his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts.” Swedish Academy, The Nobel Prize in Literature 1982
  • “No writer since Dickens was so widely read, and so deeply loved, as Gabriel García Márquez.” Salman Rushdie 
  • “One of the greatest visionary writers.” Barack Obama


A treasure: Gabriel García Márquez’s unpublished novel. An irresistible story of fleeting, tangled love that recaptures the coveted pleasure of reading the best Gabo.

Almost ten years after the death of Gabriel García Márquez, the publication of his posthumous novel, En agosto nos vemos, promises to be one of the year’s literary highlights.

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The exceptional correspondence between four great writers who were also great friends and allies. An invaluable testament to an incomparable epoch and generation.

Written between 1955 and 2012, the 207 letters in this book reproduce the friendship that was built up between four of the greatest boom writers, from different countries and each with his own narrative project. 

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Biography / Memoirs


A treasure: Gabriel García Márquez’s unpublished novel. An irresistible story of fleeting, tangled love that recaptures the coveted pleasure of reading the best Gabo.

Almost ten years after the death of Gabriel García Márquez, the publication of his posthumous novel, En agosto nos vemos, promises to be one of the year’s literary highlights.

Every 16 August, Ana Magdalena Bach travels to a Caribbean island to put flowers on her mother's grave. One year, on a warm evening, alone and faraway from her husband and children, she meets a handsome stranger with whom she is willing to surrender to a night of passion.

A joyous anthem in praise of women's freedom and an exploration of midlife female desire and sexuality. A grand finale that concludes the biography of an irreplaceable classic, one of the great names of universal literature.

“His intelligence and exceptional use of language have ensured that his best work remains undiminished[...] A feast of originality and sheer inventiveness.” Michael Greenberg, The New York Times 

“The narrative style is cool.” Lucy Hughes-Hallett, The Guardian

“…en esta brevedad de seis capítulos, el autor reescribió como quien pule una piedra preciosa, y alcanzó una breve obra maestra de la literatura, intuyendo que no todo estaba resuelto en los encuentros corporales y sexuales de Ana Magdalena Bach, sino en los silencios cifrados del deseo no siempre alcanzado.” Gustavo Tatis Guerra, El Periódico (Colombia) 

“Está la insistencia en mostrar…Está la temporalidad recurrente…. Está, cómo no, la literatura… Está una atmósfera inconfundible… Está el amor, el tema que recoge motivos y técnicas en la obra de García Márquez…. Está la vida imaginada de Ana Magdalena Bach tratando de acortar y comprender las distancias entre la realidad falseada y la ficción verídica…[… ] Y está la firmeza de un escritor por volver a contar una historia construida bajo el velo del lenguaje.” Ricardo Baixeras, El Periódico de España 

“Sus hijos tuvieron toda la razón cuando decidieron traicionar al padre y publicarla.” Carlos Granés, ABC

En agosto nos vemos es otra obra maestra del autor de Cien años de soledad, con un tema nuevo en su producción y un final impactante”. J. A. Masoliver Ródenas, La Vanguardia

“Se lee con amabilidad, tiene ráfagas de belleza, calidez… Tiene virtudes, y a quién no le va a gustar el reencuentro con un autor que lo hizo feliz. No hay vergüenza alguna en que el inédito vea la luz.” Nadal Suau, El País

En agosto nos vemos es también otra prueba irrefutable de su talento, dedicación y amor por la literatura. Es una obra imprescindible. El broche final a una carrera y una vida únicas.” Juan Cruz, El Periódico

 “Nadie como él ha logrado con un adjetivo develar la naturaleza de un sustantivo.” Conrado Zuluaga

“Una de las obras más terrenales, hondas y políticas del Nobel colombiano, y con la que salda una deuda: dar el protagonismo absoluto a una mujer. [...] Relampaguea la belleza de su mundo literario hasta conmover. Una novela desigual, pero donde un solo párrafo de su genio vale todo el libro, y muchos libros enteros de muchísimos escritores.” W. Manrique Sabogal, WMagazin

“Et c’est tout l’art consommé de Garcia Marquez qui fait d’Ana Magdalena un personnage féminin aussi puissant et marquant, qui rejoint ainsi la Graciela de Diatriba de amor contra un hombre sentado, Ursula Iguaran et « Remedios la bella » dans Cent ans de solitude.” Le Figaro Littéraire



On the eve of his ninetieth birthday a bachelor decides to give himself a wild night of love with a virgin. As is his habit–he has purchased hundreds of women–he asks a madam for her assistance. The fourteen-year-old girl who is procured for him is enchanting, but exhausted as she is from caring for siblings and her job sewing buttons, she can do little but sleep. Yet with this sleeping beauty at his side, it is he who awakens to a romance he has never known. 

On her twelfth birthday, Sierva Maria – the only child of a decaying noble family in an eighteenth-century South American seaport – is bitten by a rabid dog. Believed to be possessed, she is brought to a convent for observation. And into her cell stumbles Father Cayetano Delaura, who has already dreamed about a girl with hair trailing after her like a bridal train. As he tends to her with holy water and sacramental oils, Delaura feels something shocking begin to occur. He has fallen in love – and it is not long until Sierva Maria joins him in his fevered misery. Unsettling and indelible, Of Love and Other Demons is an evocative, majestic tale of the most universal experiences known to woman and man.

With the style and eloquent language that earned him the Nobel prize for literature, Marquez weaves a stunning story of glory and despair. Both real history and Marquez' imagination let us enter the world of Simon Bolivar, Liberator of South America, in all his humanity - good and evil. Bolivar drove the Spanish out of South America, dealt with treachery from his own compatriots. Once hailed as a hero, he is now scorned and reviled, and fighting his own demons, he refuses to die quietly. We are given a glimpse of the genius and foibles of the man behind the legend, as we accompany him on his last journey, accompanied only by the loyal remants of his once great army.

Florentino Ariza is a hopeless romantic who falls passionately for the beautiful Fermina Daza, but finds his love tragically rejected. Instead Fermina marries distinguished doctor Juvenal Urbino, while Florentino can only wait silently for her. He can never forget his first and only true love. Then, fifty-one years, nine months and four days later, Fermina's husband dies unexpectedly. At last Florentino has another chance to declare his feelings and discover if a passion that has endured for half a century will remain unrequited, in a rich, fantastical and humane celebration of love in all its many forms.

"The Garcimarquesian voice has been brought to a level where it can at once be classical and familiar, opalescent and pure, able to praise and curse, laugh and cry, fabulate and sing and when called upon, take off and soar. ” Thomas Pynchon, The New York Times

'On the day they were going to kill him, Santiago Nasar got up at five-thirty in the morning to wait for the boat the bishop was coming on'

Santiago Nasar is brutally murdered in a small town by two brothers. All the townspeople knew it was going to happen - including the victim. But nobody did anything to prevent the killing. Twenty seven years later, a man arrives in town to try and piece together the truth from the contradictory testimonies of the townsfolk. To at last understand what happened to Santiago, and why. . .

One of Gabriel García Márquez's most intricate and ambitious works, The Autumn of the Patriarch is a brilliant tale of a Caribbean tyrant and the corruption of power.

From charity to deceit, benevolence to violence, fear of God to extreme cruelty, the dictator of The Autumn of the Patriarch embodies the best and the worst of human nature. Gabriel García Márquez, the renowned master of magical realism, vividly portrays the dying tyrant caught in the prison of his own dictator-ship. Employing an innovative, dreamlike style, and overflowing with symbolic descriptions, the novel transports the reader to a world that is at once fanciful and real.

One Hundred Years of Solitude tells the story of the rise and fall, birth and death of the mythical town of Macondo through the history of the Buendía family. Inventive, amusing, magnetic, sad, and alive with unforgettable men and women -- brimming with truth, compassion, and a lyrical magic that strikes the soul -- this novel is a masterpiece in the art of fiction.

'Should be required reading for the entire human race' The New York Times

'No writer since Dickens was so widely read, and so deeply loved, as Gabriel García Márquez.' Salman Rushdie

'The Quixote of our time.' Pablo Neruda

As a small South American town sweats under an oppressive heat, an unknown person creeps through the night sticking malicious posters to walls and doors. When the contents of one poster lead to a murder, everyone knows that the town is threatened by a malevolent presence - but is there anything that the mayor, the doctor or the priest can do about it?

Written just before One Hundred Years of Solitude, this fascinating novel of a Colombian river town possessed by evil points to the author's later flowering and greatness.

Fridays are different. Every other day of the week, the Colonel and his ailing wife fight a constant battle against poverty and monotony, scraping together the dregs of their savings for the food and medicine that keeps them alive. But on Fridays the postman comes - and that sets a fleeting wave of hope rushing through the General's ageing heart. For fifteen years he's watched the mail launch come into harbour, hoping he'll be handed an envelope containing the army pension promised to him all those years ago. Whilst he waits for the cheque, his hopes are pinned on his prize bird and the upcoming cockfighting season. But until then the bird - like the Colonel and his wife - must somehow be fed.

“I think it's my best book, without any doubt. I had to write Cien años de soledad so that people would read El coronel no tiene quien le escriba.” Gabriel García Márquez

“In my opinion, and I’ve said so more than once, Garcia Marquez’s masterpiece is El coronel no tiene quien le escriba.” Mario Benedetti

As a blizzard of warehouses and amusement parlours and slums descends on the small town of Macondo, the inhabitants reel at the accompanying stench of rubbish that makes their home unrecognisable. When the banana company leaves town as fast as it arrived, all they are left with is a void of decay. Living in this devastated and soulless wasteland is one last honourable man, the Colonel, who is determined to fulfil a longstanding promise, no matter how unpalatable it may be. With the death of the detested Doctor, he must provide an honourable burial - and incur the wrath of the rest of Macondo, who would rather see the Doctor rot, forgotten and unattended.

Short stories and novellas

“[...] what lies between Leaf Storm and One Hundred Years of Solitude is around fifteen years of getting annoyed a lot, living a lot and being aware of this every day, trying to see how things were.” Gabriel García Márquez

Gabriel García Márquez stated on several occasions that nothing interesting happened to him after the age of eight. Although this is just a joke tinged with nostalgia, the fact is that until that early age little Gabo grew up in the care of his grandparents in a town called Aracataca, listening to the true and wonderful stories that they told him about the war - where his grandfather fought as a colonel, and about his family history, the world of the past, and the ghosts that inhabited the house. A mythical universe that years later would come to life under the indelible name of Macondo, an invented town where many of the best stories written by Gabriel García Márquez take place. 

This anthology brings together all the texts that during fifteen years prefigured the territory of One Hundred Years of Solitude: masterful stories such as There Are No Thieves in This Town, and memorable short novels such as Leaf Storm or No One Writes to the Colonel, as well as the notes for a 1950 novel. A fascinating journey to the most visited fictional town in the world.

That volume collects the forty one short stories written by Gabriel Garcia Marquez.

Strange Pilgrims is a collection of unforgettable stories about distinctive South American individuals in Europe .

'The first thing Señora Prudencia Linero noticed when she reached the port of Naples was that it had the same smell as the port of Riohacha'

The twelve stories here tell of Latin Americans adrift in Europe: a bereaved father in Rome for an audience with the Pope carries a box shaped like a cello case; an aging streetwalker waits for death in Barcelona with a dog trained to weep at her grave; a panic-stricken husband takes his wife to a Parisian hospital to treat a cut and never sees her again. Combining terror and nostalgia, surreal comedy and the poetry of the commonplace, Strange Pilgrims is a triumph of storytelling.

Es el décimo del compendio de doce cuentos escritos y redactados por Gabriel García Márquez a lo largo de dieciocho años, que conforman el libro llamado Doce cuentos peregrinos. Nos narra la historia de una rígida institutriz alemana, quien se debate entre sus pasiones y los valores heredados de su crianza. De día se comporta como una mujer estricta, ausente de emociones y de noche se transforma en una desaforada criatura, presa de los excesos y de las pasiones.

Cuento que se integrará en Doce cuentos peregrinos, narra la historia de dos jóvenes de familias pudientes que se enamoran, viven el idilio de la pasión entre Cartagena de Indias y Europa.

Then she looked at me. I thought that she was looking at me for the first time. But then, when she turned around behind the lamp and I kept feeling her slippery and oily look in back of me, over my shoulder, I understood that it was I who was looking at her for the first time. I lit a cigarette. I took a drag on the harsh, strong smoke, before spinning in the chair, balancing on one of the rear legs. After that I saw her there, as if she'd been standing beside the lamp looking at me every night. For a few brief minutes that's all we did: look at each other. I looked from the chair, balancing on one of the rear legs. She stood, with a long and quiet hand on the lamp, looking at me. I saw her eyelids lighted up as on every night. It was then that I remembered the usual thing, when I said to her: 'Eyes of a blue dog.' Without taking her hand off the lamp she said to me: 'That. We'll never forget that.' She left the orbit, sighing: 'Eyes of a blue dog. I've written it everywhere.'

These early short stories, written and published between 1947 and 1955, appear as a book in 1972. 

This collection of fiction, representing some of García Márquez's earlier work, includes eleven short stories and a novella, Innocent Eréndira, in which a young girl who dreams of freedom cannot escape the reach of her vicious and avaricious grandmother.

'Eréndira was bathing her grandmother when the wind of misfortune began to blow'

While her grotesque and demanding grandmother retires to bed, Eréndira still has floors to wash, sheets to iron, and a peacock to feed. The never-ending chores leave the young girl so exhausted that's he collapses into bed with the candle still glowing on a nearby table - and is fast asleep when it topples over. . . Eight hundred and seventy-two thousand, three hundred and fifteen pesos, her grandmother calculates, is the amount that Eréndira must repay for the loss of the house. As she is dragged by her grandmother from town to town and hawked to soldiers, smugglers and traders, Eréndira feels herself dying. Can the love of a virgin save the young whore from her hell?

Collection of fiction which includes seven short stories and the novella Big Mama’s Funeral


Finding herself increasingly isolated and alone, in a loveless marriage, Graciela examines her life with wit, pathos, irony and humour. It is a haunting and poetic study of a woman's past and present dilemma.


A lo largo de su trayectoria, Gabriel García Márquez pronunció una gran variedad de discursos, en muy diversas circunstancias y frente a todo tipo de audiencias. Cada uno de ellos revela su entrañable personalidad, así como sus ideas en torno a cuestiones clave que marcaron su vida y su carrera literaria. He aquí una recopilación que rinde homenaje al colombiano universal.

In 1990, fearing extradition to the United States, Pablo Escobar – head of the Medellín drug cartel – kidnapped ten notable Colombians to use as bargaining chips. With the eye of a poet, García Márquez describes the survivors’ perilous ordeal and the bizarre drama of the negotiations for their release. He also depicts the keening ache of Colombia after nearly forty years of rebel uprisings, right-wing death squads, currency collapse and narco-democracy. With cinematic intensity, breathtaking language and journalistic rigor, García Márquez evokes the sickness that inflicts his beloved country and how it penetrates every strata of society, from the lowliest peasant to the President himself.

In 1973, the film director Miguel Littín fled Chile after a U.S.-supported military coup toppled the democratically elected socialist government of Salvador Allende. The new dictator, General Augusto Pinochet, instituted a reign of terror and turned Chile into a laboratory to test the poisonous prescriptions of the American economist Milton Friedman. In 1985, Littín returned to Chile disguised as a Uruguayan businessman. He was desperate to see the homeland he’d been exiled from for so many years; he also meant to pull off a very tricky stunt: with the help of three film crews from three different countries, each supposedly busy making a movie to promote tourism, he would secretly put together a film that would tell the truth about Pinochet’s benighted Chile—a film that would capture the world’s attention while landing the general and his secret police with a very visible black eye. 

Afterwards, the great novelist Gabriel García Márquez sat down with Littín to hear the story of his escapade, with all its scary, comic, and not-a-little surreal ups and downs. Clandestine in Chile is a true-life adventure story and a classic of modern reportage.

“García Márquez, a formidable journalist as well as a great writer, writes all about that political environment with precision and a brutal handling of small details, while also becoming a witness to an impossible world.” (Guillermo Altares, El País)

“With that torrential, direct and beautiful style that characterises his prose, and the wit of a restless journalist, García Márquez pours his impressions into a book that reads as if the reader were the one accompanying the writer.” (Natalio Blanco, Esquire)

“A dazzling account in which admiration for socialism mixes with criticism of a Kafkaesque bureaucracy and the capture of a climate of incipient absurdity.” (Martín Pérez, Página 12)


De viaje por Europa del Este is a first-hand account of young García Márquez’s journey through the Socialist Bloc countries in the 1950s, right after Soviet troops crushed the Hungarian revolution in 1956. Along with comments from his travelling companions, its pages contain a keen analysis, not without irony, of the social and political developments of that period. This journey of contrasts starts in East Berlin and continues through Czechoslovakia, Poland and Hungary all the way to Moscow. With the author’s unsurpassed lucidity, it provides a nuanced account of everyday life in a system with an expiration date, where every detail reveals the ambivalent face of true socialism.


Written and published in instalments during the same period as his legendary The Story of a Shipwrecked Sailor, this work is another priceless example of Gabo’s narrative mastery. It reveals his deepest vocation and hallmark: the pleasure of telling a good story.

'On February 22 we were told that we would be returning to Columbia'

In 1955 eight crew members of Caldas, a Colombian destroyer, were swept overboard. Velasco alone survived, drifting on a raft for ten days without food or water. Marquez retells the survivor's amazing tale of endurance, from his loneliness and thirst to his determination to survive.

The Story of a Shipwrecked Sailor was Marquez's first major work, published in a Colombian newspaper, El Espectador, in 1955 and then in book form in 1970.

'The story of Velasco on his raft, his battle with sharks over a succulent fish, his hallucinations, his capture of a seagull which he was unable to eat, his subsequent droll rescue, has all the grip of archetypal myth. Reads like an epic'. Independent

Illustrated Book

A commemorative edition of Love in the Times of Cholera, a great classic by Gabriel García Márquez and an essential novel of contemporary literature.

"It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love."

That is how one of the most wonderful love stories in world literature begins. An unrequited love story that lasts for half a century with a little Caribbean port town as the background. The Nobel Price in Literature presents the magical relationship between Fermina Daza and Florentino Ariza as if it were a tropical mixture of plants and clay, for a master to mold and fantasize with however he pleases, between the territories of myth and legend. The juices, the smells and the tastes of the tropic feed a hallucinatory prose that has won the favor of thousands of readers around the world.

"This brilliant and heartbreaking novel is perhaps one of the best love stories ever told." The New York Times Book Review

Seis relatos de Gabriel García Márquez ilustrados por la premio Nacional Carme Solé Vendrell. Sus imágenes iluminan las delicadas reflexiones sobre la infancia que trazó el premio Nobel en estos relatos que tanto pequeños como mayores recordarán para siempre.

Gabriel García Márquez siempre recordaba cómo su abuela le transmitió la pasión por las historias contándole cuentos cuando era pequeño y vivía con ella. Estos seis relatos, unidos por la presencia, a veces oculta, de un niño, contienen todo el imaginario del gran autor colombiano.

Una mujer y su hija llegan a un pueblo desierto para velar a un familiar difunto sin interrumpir la siesta de los habitantes. Un hombre con unas enormes alas de pájaro se precipita desde el cielo, sembrando el asombro entre el vecindario. Dos niños consiguen inundar de luz la ciudad de Madrid. Y en Barcelona, una prostituta que va entrando en la vejez adiestra a su perro para llorar ante la tumba que ha escogido para sí misma.

Estas conmovedoras historias están acompañadas por la obra de la pintora Carme Solé Vendrell, premio Nacional de Ilustración, que tiene el honor de ser la única persona que dio vida a los cuentos de García Márquez con el permiso del autor. Fieles a la magia de su prosa, las imágenes iluminan las delicadas reflexiones sobre la infancia que trazó el premio Nobel en estos relatos que tanto pequeños como mayores recordarán para siempre.

A commemorative edition of a key novel in the history of literature.

On the occasion of the 50th anniversary of the publication of One Hundred Years of Solitude comes an edition containing unpublished illustrations by Chilean artist Luisa Rivera, with a typography created by Gabriel García Márquez’s son, Gonzalo García Barcha.

“Many years later, as he faced the firing squad, Coronel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.” Thus begins one of the most important novels of the 20th century, and one of the most fascinating literary adventures of all time. Millions of copies of One Hundred Years of Solitude, read in every language, and a Nobel Prize for Literature have crowned a work that made its way “from mouth to mouth,” as its author liked to say. This is the most palpable proof that the fabulous adventure of the Buendía-Iguarán family, with its miracles, fantasies, obsessions, tragedies, incest, adultery, rebellions, discoveries and imprisonments, simultaneously represented the myth and the history, the tragedy and the love, of the entire world.

Biography / Memoirs

With Living to Tell the Tale, Gabriel García Márquez offers the first volume of his life story, a tale as rich in humor and fantastic incident as any of his unforgettable novels. It takes the reader from his birth in Aracataca, on the Caribbean coast of Colombia, through his childhood and school years in Baranquilla and Bogotá, into his early years as a journalist and up to the moment in 1955 when he leaves for Europe with a promise from the woman he will eventually marry.

Living to Tell the Tale has the shape, the quality, and the vividness of a conversation with the reader—a tale of people, places, and events as they occur to him: the colorful stories of his eccentric family members; the great influence of his mother and maternal grandfather; the myths and mysteries of his beloved Colombia; personal details, undisclosed until now, that would appear later, transmuted and transposed, in his fiction; and, above all, his fervent desire to become a writer. As in his fiction, the narrator here is an inspired observer of the physical world, able to make clear the emotions and passions that lie at the heart of a life—in this instance, García Márquez’s own.

Journalistic Work

“Journalism is the profession that most closely resembles boxing, with the advantage that the machine always wins, and the disadvantage that we’re not allowed to throw in the towel.”

In his memoirs, Gabriel García Márquez describes how his earliest, deepest vocation was always to become a writer. Working as a journalist was never part of his plan until a master of the profession showed him the possibilities of reporting as a literary genre. Persuaded that "novel and article are children of the same mother," he learned the trade, became passionate about it, and devoted the best pages of his literary production to it for decades.

This volume contains a selection of García Márquez’s most masterful chronicles. In these stories, there’s no lack of continued reflection on the trade of journalist and novelist. The reader will discover a fascination with stories that challenge our image of reality, sometimes because we’ll never fully understand them, such as the mysterious Wilma Montesi case, after which this book is named. And sometimes because they force us to look at the world with new eyes, open to marvelling at the contradictions, misfortunes, and wonders that govern its unpredictable mechanism.

“His journalistic stories always include all the necessary components of journalism: the prior reporting, well-chosen quotes from sources, and descriptions of the moment and place in history. But they also contain all the key elements of a ‘story well told'.” Jon Lee Anderson

The Scandal of the Century demonstrate[s] that his forthright, lightly ironical voice just seemed to be there, right from the start. . . . He had a way of connecting the souls in all his writing, fiction and nonfiction, to the melancholy static of the universe.” The New York Times

“Throughout his career, García Márquez consistently sought to use that freedom, ranging back and forth between reportage and fiction, in order to show us how we might make it our own.” Tony Wood, Literary Hub

“He was one of the few Latin American authors of his generation – another unescapable example is Mario Vargas Llosa – who believed that journalism well done could become art, and acted accordingly.” Leila Guerriero

“García Márquez seemed to have no other purpose than to tell a good story, the best story possible every week.” Antonio Muñoz Molina

“This brilliant collection . . . puts his journalism on the same level as his fiction, which is quite some level.” Salman Rushdie  

“This collection is a master class on how to write for a newspaper: lush, vivid columns full of information, irony, whimsy, humor, skepticism and rumination, just what one would expect.” Seymour M. Hersh

“Márquez’s fiction would not exist without his journalism, just as without his fiction his journalism would not exist: they nourished each other. Some of [his] journalistic pieces are every bit as good as his fiction at its best.” Javier Cercas 

Cuarto volumen de la obra periodística, abarca desde el análisis del Chile del golpe de Estado, con el que se abre este libro, hasta el perfil de Federico Mayor Zaragoza, director general de la Unesco, que lo cierra, con veintiséis reportajes más. Son fragmentos de un mosaico de dos decenios de historia mundial, y en particular de América Latina. Salvador Allende, Fidel Castro, el general Torrijos, Juan Pablo II o Felipe González, entre otros, han configurado una era y son contemplados bajo la luz sólida, profunda y experimentada del Premio Nobel latinoamericano.

Quinto volumen de su obra periodística, recopila personajes de la política, de la cultura o, simplemente, de la vida; libros, películas, ciudades visitadas y vividas; denuncias, recuerdos, miedos confesables, como el miedo a los aviones, y la pregunta a la que se enfrenta todo narrador: ¿cómo se hace una novela? Casi doscientos artículos breves, cada uno, una pequeña pieza magistral.

Recopilación de quince reportajes.

Tercer volumen de la obra periodística, corresponde a uno de los periodos más activos de Gabriel Garcia Marquez en el campo del periodismo: periodo de intensas experiencias políticas, de dinamismo ideológico, de enriquecimiento estilístico. En las crónicas y reportajes que enviaba allende el Atlántico, desde Ginebra, Roma, Venecia, Viena, Londres y Paris, se hallan innumerables presagios de la gran obra literaria que maduraba el narrador colombiano, a la vez que un análisis agudo, lleno de guiños irónicos, de los principales acontecimientos sociales y políticos de la época.

Segundo volumen de la obra periodística de Gabriel García Márquez, reúne recopilados y prologados por Jacques Gilard los artículos aparecidos en El Espectador de Bogotá durante los años 1954 y 1955. Aparecen ya las consecuencias de ciertas lecturas, particularmente las de Camus y Hemingway, con reflexiones y análisis de hechos investigados en caliente, donde la forma delata preocupaciones literarias fundamentales y preexistentes y donde el rigor narrativo alcanza un alto valor literario.

Primer volumen de la obra periodística de Gabriel García Márquez, abarca de mayo de 1948 –cuando comenzó a escribir en El Universal de Cartagena– a diciembre de 1952. El hecho más puntual, la noticia más cotidiana, se inscriben en el universo de magia literaria del gran creador. En muchos casos, en estos impecables textos –recopilados y prologados por Jacques Gilard– se hallan ya ecos de la temática de su obra literaria.

En sus crónicas y reportajes de 1954 a 1955, Gabriel García Márquez cuenta historias serias, concretas, duras, como la muerte desoladora en Hiroshima, cuando cayó la bomba atómica y se establecía la era nuclear, y otras que descubren la diversidad humana, como la historia de las curaciones, los exorcismos, y los casos de hechizos, que la virgen La Marquesita atendía en un lugar llamado la Sierpe.

Recoge diversas crónicas, artículos y reportajes periodísticos de Gabriel García Márquez, escritos entre los años 1957 y 1959 en Caracas, desde la dimisión del por entonces primer ministro británico por estar en desacuerdo con la forma de llevar a cabo la construcción del Canal de Suez, a los albores de la revolución cubana.


The exceptional correspondence between four great writers who were also great friends and allies. An invaluable testament to an incomparable epoch and generation.

Written between 1955 and 2012, the 207 letters in this book reproduce the friendship that was built up between four of the greatest boom writers, from different countries and each with his own narrative project. Although they would drift apart over time because of political and personal differences, for decades they regaled each other with generous displays of affection and admiration, shared their doubts and valuable advice on the craft of writing, and were accomplices in their mutual success, despite the fact that success came to each of them at a different time and in a different way.

This newly published correspondence takes the reader behind the curtains into the private lives underlying that success. It constitutes an invaluable document not only for understanding a key period in Latin American literature and history, but also for discovering the most human and private side of Julio CortázarCarlos FuentesGabriel García Marquez and Mario Vargas Llosa.  

Edition by Carlos Aguirre, Gerald Martin, Javier Munguía y Augusto Wong Campos.

A luminous book, as enduring as the history it describes. Las cartas del Boom evokes the spirit of elation in which the most powerful phenomenon of 20th century literary creation in Spanish emerged.” Juan Cruz, El Periódico

“These letters make for absorbing reading and bring to light the hidden workings of literature. Truly a historical book.” El Cultural

 “An epistolary book like few others, because it is a portrait of an epoch." Sergio Ramirez

“In an epoch where the so-called literatures of the self prevail, these letters that were not written with literary intent have now become, inadvertently, literature (of the self) and a historical document.” Laura Ventura, La Nación

“An exceptional human, intellectual and literary document (...) What makes the volume special is the lay-out of this epistolary, which succeeds in creating the sensation of a live conversation between the four writers. (...) They are like teenagers discussing what they are passionate about and fall in love with. Their voices can be heard, sometimes almost audible, sometimes fast, measured or meditative, and concerned with giving each other support. They express themselves sincerely and candidly when they comment on their works.” Winston Manrique Sabogal

“Seeing some of the greatest authors of the 20th century talking to each other in private, without imagining that anyone will find out what they are saying, turns the reader of their correspondence into someone spying on the history of literature.” Xavi Ayén, La Vanguardia

Other genres

Obra que trata sobre la escritura de guiones (sus pautas, principios, normas...) en un ambiente de diálogo y conversación entre los participantes del taller, bajo la dirección y autoridad de Gabriel García Márquez.

Recoge las sesiones del taller del que surgió el guión de la serie de televisión homónima. García Márquez expuso su idea a los talleristas, con unas reglas muy específicas: convertir en guión la historia de una mujer que llega a una casa, ofrece sus servicios de soñadora y elimina a los miembros de la familia, guión en cinco o seis capítulos para la televisión y que, entre todos, deberían redactar en un mes. A partir de allí reinaría el flujo creativo.

En esta obra tan personal, el autor revela algunas de las claves fundamentales para la creación de un texto, elementos del complejo proceso de elaboración de una historia de ficción en palabras. ¿Qué clase de misterio es ése que hace que el simple deseo de contar historias se convierta en una pasión, que un ser humano sea capaz de morir por ella; morir de hambre, frío o lo que sea, con tal de hacer una cosa que no se puede ver ni tocar y que, al fin y al cabo, si bien se mira, no sirve para nada?

Discurso leído en el 47 aniversario de la bomba de Hiroshima.

In these conversations Gabriel Garcia Marquez, speaks about his Colombian family background, his early travels and struggles as writer, his literary antecedents, and his personal artistic concerns. Marquez conveys, as he does in his work through the power of language, the heat and colour of the Spanish Caribbean, the mythological world of its inhabitants, and the exotic mentality of its leaders. Plinio Apuleyo Mendoza, the journalist and novelist who shares these conversations, is a friend and contemporary of Marques, and also of Colombian extraction.

Recrea una espectacular toma de rehenes por parte de los sandinistas, que aceleró la caída del régimen de Somoza.

Aunque escrito hace tiempo, el presente texto no pierde validez ya que explica con sencillez y claridad, sobre todo a las jóvenes generaciones, la caída del Gobierno Allende, y señala a los ejecutores directos e indirectos del golpe de Estado.

Tiempo de morir (1964)

Para Elisa (1973)

Blacaman el bueno, vendedor de milagros (Cuento perteneciente a  La increíble y triste historia de la cándida Erendira y de su abuela desalmada)

La tigra (1978)

El asalto (1982)

Paxi mi amor (1964)

Maria de mi corazón (1984)

Me alquilo para soñar (1988). Serie para TV

Amores difíciles (1988). Serie para TV formada por las siguientes historias: La larga vida feliz de Margarito Duarte, Un domingo feliz, Cartas del parque, La fábula de la bella palomera, Yo soy el que tu buscas, El verano feliz de la Sra. Forbes (basada en el relato del mismo nombre), El rastro de tu sangre en la nieve.

Maria dos prazeres (1989)

Rabia (1990)

U.S. Navy (en colaboración con Ruy Guerra)

Maria de Jorge Isaacs: guiones para TV


  •  2006 - Los Angeles Times Book Prize for Fiction for Memoria de mis putas tristes
  • 1985 - Premio cuarenta años, Círculo de Periodistas de Bogotá
  • 1982 - Nobel Prize in Literature
  • 1982 - Águila Azteca (Mexico)
  • 1981 - Légion d'honneur (France)
  • 1979 - Georgi Dimitrov Peace Prize
  • 1972 - Premio Rómulo Gallegos for Cien años de soledad
  • 1972 - Neustadt International Prize for Literature
  • 1971 - Honorary Doctor of Letters, University of Columbia (USA)
  • 1971 - Premio de la Crítica Italiana 
  • 1969 - Prix du Meilleur Livre Etranger
  • 1969 - Premio Chianciano
  • 1961 - Premio ESSO de Novela Colombiana for La mala hora
  • 1955 - Premio de Cuento, Asociación de Escritores y Artistas de Colombia