Collected Stories

Gabriel García Márquez

Dimensions: 129 x 198 mm  
Format: Paperback
Pages: 292
Publisher: Penguin
Translators: Gregory Rabassa and J S Bernstein
Language: English
Place of publication: London
Date of publication: 2014

Collected Stories by Gabriel García Márquez



Sweeping through crumbling towns, travelling fairs and windswept ports, Gabriel García Márquez introduces a host of extraordinary characters and communities in his mesmerizing tales of everyday life: smugglers, bagpipers, the President and Pope at the funeral of Macondo's revered matriarch; a very old angel with enormous wings, stranded in a young couple's back garden; a town plagued by dying birds that fall from the sky and an awestruck village captivated by a beautiful drowned sailor. Teeming with the magical oddities for which his novels are loved, Márquez's stories are a delight.

'These stories abound with love affairs, ruined beauty, and magical women. It is essence of Márquez' Guardian

'Of all the living authors known to me, only one is undoubtedly touched by genius: Gabriel García Márquez' Sunday Telegraph

'It becomes more and more fun to read. It shows what "fabulous" really means' Time Out

This book will be the subject of discussion in week 4 of Dr William Rowlandson's seminar series 'Swedenborg, Literature and the Imaginal'.

Week 4: 'Magical Realism: Can the real be magic? Can magic be real?'

27 June 2016 | 6.00 - 8.00 pm | Wynter Room, Swedenborg House, London WC1A 2TH

Magical Realism is a term much loved by publishers and academics, especially following the bestselling successes of García Márquez, Isabel Allende, Salman Rushdie and Ben Okri. García Márquez, though, found the term problematic and restrictive, as it seemed to imply the unreality of his fictional narratives, whereas he claimed that he was simply presenting reality as he knew it, like his grandmother’s stories that he loved as a child and which he never took to be unbelievable. In this session we focus on certain key passages of key texts of this so-called genre and examine the tension of reality and unreality. We examine whether the matters that may be deemed ‘magical’ are clearly distinguished from the matters deemed ‘real’. Is such a division helpful or even possible? How would experiences in our lives fare against a binary of magical versus real?