Living to Tell the Tale

In living to tell the tale gabriel garcía márquez - winner of the 1982 nobel prize for literature and author of one hundred years of solitude - recounts his personal experience of returning to the house in which he grew up and the memories that this visit conjured my mother asked me to go with her to sell the housegabriel garcía márquez was twenty-three, a young man experimenting with his writing when this mother asked him to come back with her to the village of his grandparents and the memories of his colombian childhoodin the first part of gabriel garcía márquezs memoir, the nobel prize-winning author returns to the atmosphere and influences that shaped his formidable imagination and formed the basis of his world-famous, and much-loved, fictiona treasure trove, a discovery of a lost land we knew existed but couldnt find a thrilling miracle of a book the timesa marvellous journey never less than a miracle sunday timesmárquez writes in this lyrical, magical language that no one else can do salman rushdieas one of the pioneers of magic realism and perhaps the most prominent voice of latin american literature, gabriel garcía márquez has received international recognition for his novels, works of non-fiction and collections of short stories those published in translation by penguin include autumn of the patriarch, bon voyage mrpresident, collected stories, chronicle of a death foretold, the general in his labyrinth, innocent eréndira and other stories, in the evil hour, leaf storm, love in the time of cholera, memories of my melancholy whores, news of a kidnapping, no-one writes to the colonel, of love and other demons, the story of a shipwrecked sailor and strange pilgrims

Living to Tell the Tale, the first of three projected volumes in the memoirs of Nobel Laureate Gabriel Garcia Márquez, narrates what, on the surface appears to be the portrait of the young artist through the mid-1950s. But the masterful work, which draws on the craft of the author's best fiction, has a depth and richness that transcends straightforward autobiography.

Echoing Vladimir Nabokov's Speak, Memory: An Autobiography Revisited, Márquez uses his memoir as justification for telling an artful story that challenges notions of authoritative record or chronology. Time is porous in Márquez's Colombia, flowing back and forth among the mythic moments of his personal history to accommodate his fascination for place. While recalling a trip he took as an adult to his grandparents' house in Aracataca, he veers suddenly back to childhood and his earliest infant memories in that house. Nearly one hundred pages have passed before he returns effortlessly to the pivotal moment on the trip when he declares to himself and family: "I'm going to be a writer... Nothing but a writer.'

Similarly, Márquez toys with the boundaries of truth and fiction throughout his book. He acknowledges that his memory is often faulty, especially with regards to his crucial, formative years with his grandparents. And his explorations of key moments in his life show that, despite his vivid mental snapshots, the events were often temporally impossible. Further, he colors his tale with recollections of ghostly presences and occult events that pass without a wink into his narrative, alongside the documented accounts of his early successes as a poet and singer or details of his first published writings.

With its play on time and truth, memory and storytelling, Living to Tell the Tale's literary form acts as early evidence for Márquez's inevitable calling as a writer, and the language of Edith Grossman's translation, which frequently skirts the boundaries of poetry, mirrors Márquez's effort. While he meanders on his picaresque artistic journey--distracted by trysts with a married woman, the tumult of Colombian politics, and the raw energy of the journalist's life--he ends this first volume with the tantalizing promise of the literary career about to explode, and the impossible prospect of even greater riches for his readers. --Patrick O’Kelley