Read by Gabriel García Márquez صالح علماني Online

يضم الكتاب أربع مجموعات قصصية كتبها ماركيز في فترات وظروف مختلفةوقد ترجمت بعض هذه القصص في كتب متفرقة مثل (جنازة الأم الكبيرة) و(إيرنديرا البريئة) و(اثنتا عشرة قصة تائهة)وبعضها شكلت نواة لرواياته مثل قصة (أحد هذه الأيام) التي تحولت فيما بعد إلى رواية (ساعة الشؤم) حسب ترجمة علماني أيضا...

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ISBN : 10279629
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Number of Pages : 495 Pages
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Reviews

  • Fernando
    2018-11-11 20:41

    Este volumen de cuentos es esencial tanto para los que aman la literatura de Gabriel García Márquez como para quienes no lo conozcan y deseen adentrarse en su magia única y maravillosa a la hora de narrar historias. En realidad son cuatro de sus libros en uno, puesto que incluye “Ojos de Perro Azul”, “Los funerales de la Mamá Grande”, “La increíble y triste historia de la cándida Eréndira y de su abuela desalmada” y “Doce Cuentos Peregrinos”. Algunos me gustaron mucho más que otros, pero más allá de predilecciones es en el conjunto en el que debo reconocer por qué Gabo fue, es y será uno de los más grandes escritores de la literatura universal. Agrego mi reseña de cada uno de los libros:Ojos de Perro AzulCon la muerte como tema principal en la mayoría de los cuentos, Gabriel García Márquez destaca en varios de ellos con espíritus que vuelven al origen de sus días, muertos vivientes que recuerdan hermosos tiempos de antaño o mundos oníricos dentro de lo cotidiano que tiene la realidad. Me gustaron "La otra costilla de la muerte", "Diálogo del espejo", "Eva está dentro de su gato" y "La noche de los alcaravanes". Párrafo aparte para el cuento que daría origen a Cien años de soledad: "Monólogo de Isabel viendo llover en Macondo", de 1955. Los funerales de la Mamá GrandeMuy buena recopilación de cuentos de típica vida de pueblo, en la que vuelve a aparecer Macondo. El cuento que más me atrajo es “En este pueblo no hay ladrones”, narrado de forma intensa, dado que el lector nunca pierde el interés para de leerlo hasta saber cómo termina. Para mí es el mejor del libro, incluso que aquel que le da el nombre al libro, más allá de su conexión con el universo macondiano.La increíble y triste historia de la cándida Eréndira y de su abuela desalmadaUn libro maravilloso, por la fuerza de sus personajes, por la belleza de su narrativa, por ese realismo mágico que uno descubre en cada cuento. Me han fascinado varios, como "Un señor muy viejo con unas alas enormes". Ese cuento me mantuvo atado a sus líneas de principio a final y su belleza es única, hermosa. Lo mismo me sucedió con "El último viaje del buque fantasma", por la forma en la que está escrito: es una oración de principio a final, sin puntos seguidos y aparte, sólo comas, que me recuerda a las últimas 40 páginas del Ulises de James Joyce y que nos da una muestra de la maestría y genialidad de la que Gabo era dueño. "Blacamán el bueno, vendedor de milagros" es otro hermoso cuento, perfectamente desarrollado y poéticamente elevado (como el resto) con una línea final perfecta y el cuento que le da el nombre al libro es el broche de oro para una maravilla de la literatura latinoamericana y universal que es este libro, que nada tiene que envidiarle a los títulos más famosos de su obra.Doce Cuentos PeregrinosUna excelente colección de cuentos, tal vez, no tan impregnados de realismo mágico (sólo algunos poseen esta característica), pero de una sugerente belleza. Los que más me gustaron fueron "El avión de la bella durmiente", cargado de tensión onírica y deseo, "Me alquilo para soñar", para mí el mejor del libro y "Sólo vine para hablar por teléfono", en el que García Márquez, como todo gran escritor, es capaz de utilizar cualquier género literario y hacerlo de maravillas, como en éste, que es un cuento de subrepticio terror. Mención especial para el que cierra el libro: "El rastro de tu sangre en la nieve", con un final realmente sorprendente.

  • Ahmad Sharabiani
    2018-11-22 02:04

    Todos los cuentos = ‎Collected stories‬, Gabriel Garcí­a Márquezتاریخ نخستین خوانش: بیست و پنجم ماه ژانویه سال 1992 میلادیعنوان: تلخکامی برای سه خوابگرد - مجموعه داستانهای کوتاه؛ نویسنده: گابریل گارسیا مارکز؛ مترجم: کاوه باسمنجی؛ تهران، روشنگران، 1370؛ در 253 ص؛ ع‍ن‍وان‌ دی‍گ‍ر: تلخکامی برای سه خوابگرد و داستانهای دیگر؛ چاپ سوم 1383؛ موضوع: داستانهای کوتاه از نویسندگان کلمبیایی - قرن 20 مداستان های کوتاه مارکز دو بخش است: کتاب اول با نام «چشمان سگی آبی رنگ» با یازده داستان؛ و کتاب دوم «داستان باور نکردنی ارندیرای بی گناه و مادربزرگ سنگدلش» با هفت داستان. ا. شربیانی

  • Jacob
    2018-12-05 03:07

    December 2009Some possibilities:1) I may have gone in over my head with this one. Gabriel García Márquez is quite the writer, and I probably lack the fortitude to deal with his imaginative genius. Magical realism may not be my thing, and my expectations on reading from this were unrealistic: having read and loved "A Very Old Man with Enormous Wings" a few years ago, my mistake was to assume the entire three-collections-in-one-volume collection would be just as simple and delightful. Perhaps García Márquez--or his stories, at least--should not be read so casually.2) Maybe Gabriel García Márquez isn't so great--I mean, maybe his stories aren't so great--I mean, maybe his earlier work, written when he was much younger, isn't nearly as good as his later stories and his novels--I mean, argh, don't hurt me! Please don't tell Oprah, I'll be good, I promise! I'm sorry I'm sorry I'm sorry...2-1/2) (Pssst! Overhere! Wehavetowhisper. So maybe the quality of Gabriel García Márquez's earlier stories (presented here in chronological order) arent nearly as strong as his other work. I mean, lets face it, magical realism for magical realism's sake isn't easy to pull off, especially in a story collection like this. That's not to say all but one story were bad--aside from "Old Man," I liked "The Woman Who Came at Six O'Clock," "Balthazar's Marvelous Afternoon," "The Handsomest Drowned Man in the World," and a handful of others; the rest just didn't really speak to me. But I could be wrong. Perhaps I should try some of his novels instead.)Are they gone yet? Can I come out now?

  • Shane
    2018-11-22 04:56

    You have to stay with this collection for awhile before it starts to grow on you, for it is compiled in chronological order, and throws the spotlight on the evolution of this writer and his craft as he matures towards winning the Nobel Prize for Literature.The 26-story collection is comprised of selections from three volumes of short stories that were published in the 1960’s and ‘70’s. The stories in the first volume, Eyes of Blue Dog, are the hardest to read as they are interior monologues and reminiscences with very little action or movement, the protagonists often pre-occupied with death. The characters feel and sense their world viscerally, and the titles bear little resemblance to the content of the pieces, and yet, given that the author was in his twenties when these stories were written, it foreshadows the literary maturity that was to develop later. We see some dialogue and movement appear in the later stories in this volume. There is a tendency to repeat lines like “The curlews pecked out our eyes” or “A horse kicked me in the head” to emphasise the direness of the characters’ situations. And when the Negro who sang in the park comes to take our protagonist away to “sing in the choir” we realize that the latter is dying; when the torrential rains run for days, floods the town and addles the mind, we are “shown” this by the townspeople seeing and smelling bodies from the graveyard floating in the streets - great imagery!The second volume, Big Mama’s Funeral, is set in Macondo, Garcia Marquez’s fictional hometown and the one he immortalized in his novel, One Hundred Years of Solitude. The corrupt mayor, the rich industrialist, the thief and other characters like the Buendia family flit in and out of the stories playing different roles. The writer’s irony begins to appear in these stories: the widow of the rich man who believes her dead spouse was noble when he was a mass murderer, the artist who gets beaten up for exposing the rich man’s corrupt soul, the blind grandmother who “sees” everything in her granddaughter’s life. The author even has his take on the Wandering Jew story, a metaphor used throughout literature. The final story, from which this volume gets its title, is a grand metaphor to the death of the old way of life and the birth of the new one, the rule of the landed gentry giving way to democracy. It is also a story in which Garcia Marquez’s fiction, in this collection, transcends the micro view to take on the macro one.The third volume, The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother, seems pre-occupied with taking the author’s vision down to the level of children. Two of the tales are subtitled “A Tale for Children,” and speak of strange people and ships that appear from out of the sea to teach us lessons. Yet, other pre-occupations, not necessarily juvenile in content, emerge: the dying and corrupt senator who sacrifices his reputation to feast on the body of a young girl, a theme that Garcia Marquez fully developed in his final novel, Memories of My Melancholy Whores; the balance of good and evil, both needing each other to survive. The final story from which the volume gets it’s name, is the longest in the entire collection, and its title says it all: poor Erendira the 14 year-old virgin is exploited to the fullest by her wicked grandmother and is indentured to the old whore for life. Despite the exaggerated situations that are typical of magic realism, some interesting truths emerge: smugglers do not interfere with the Church - wrong enemy to take on!; those who are abused and manipulated will abuse and manipulate; when one is focused on escape, one often leaves loved ones behind. The imagery is also magical: the wind is always howling outside Erendira’s tent as she travels the desert country selling her body, the wind of her misfortune, we think; the grandmother’s blood is green, with envy of her granddaughter’s youth and promise, we wonder: glass changes colour when the love-struck Ulises (Erendira’s lover) touches it, testament to seeing things with rose-tinted glasses, perhaps? Although the geography we travel through in this collection is around coastal Colombia, our travels through human experience is far, wide and deep. This is a great collection to understand the evolution of a writer from his narrow beginnings to the expansive weave and heft he achieved in his later writing.

  • Daniel Chaikin
    2018-11-13 03:07

    6. Collected Stories by Gabriel García Márqueztranslators: Gregory Rabassa & J. S. Bernsteinpublished: 1984format: 343 page paperbackacquired: Decemberread: Jan 18-25rating: 4½Original collections:Eyes of a Blue Dog: stories 1947-1955, English translation 1968. Translated by Gregory RabassaBig Mama’s Funeral: stories 1962, English translation 1972. Translated by J. S. BernsteinThe Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother: stories 1968-1972, English translation 1978. Translated by Gregory RabassaMárquez spent his youngest years away from his parents, living in the Columbia coastal town of Aracataca with his grandparents, who he explains were both great story tellers. His grandmother would mix in fanciful aspects to her stories without breaking her tone, as if she was telling all fact. He has explained these were huge influences on his writing. And it seems he was always writing. This is my first step into Márquez. I will follow him in mostly a chronological manner, and this collection includes some of his earliest published work. The first story, The Third Resignation, was published in 1947 when Márquez was 20 years old. What this collection offers in an evolution in the writing of talented and creative story teller.Eyes of a Blue Dog, the first collection, is weakest and yet the one I find I have the most to say about, because of how his writing changes from story to story. Several things are notable about the earliest stories, The Third Resignation, The Other Side of Death, and Eva is inside her cat. They have striking opening lines, with words like "sharp", and phrases like "cold, cutting, vertical noise", they are psychoanalytical, idea heavy, and rather dull to read, leaving this reader interested, but counting pages till the end. The Other Side of Death ends "in the other world, the mistaken and absurd world of rational creatures,” A phrase that is maybe revealing as to where Márquez was headed. These stories all have very different approaches, and strengths. In the title story a man has an intimate conversations with a woman in his dreams, one he can see, but can't touch, and who he completely forgets as soon as he wakes, even as she keeps telling him how to find her. It's an exploration of desire and relationships. It's a good story, but most notable because of different way to approaching what he is exploring. Whereas the most compelling story for me, the first one where I forgot to count the pages, was straight forward. Titled The Woman Who Came at Six O’Clock, it's only a conversation, a flirtatious and manipulative one between between a woman and a bar tender in an empty bar. There are five more stories after that, and I would say each one is just a much better story, much more readable, then the earlier ones, but still very imaginative. And, in each story, it seems he's getting closer to home.Every story in Big Mama’s Funeral is well developed. One might say a maturing author developing into mastering his abilities. The stories are starting to feel like pieces of a larger worlds, like Márquez is just giving us a window and that he could keep going on and I wouldn't have minded. Most of these stories are very much his world in small town coastal Columbia, in Aracataca, which gets mentioned in the last story, the title story. Characters reoccur, the tone changes, and there is a heavy, if dark or darkly tinted, humor. In the title story the tone is hyper-formal. "...and for the third time in twenty centuries there was an hour of confusion, chagrin, and bustle in the limitless empire of Christendom... The author of The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother is not experimenting so much as making his points through story telling. In the opening story, A Very Old Man With Enormous Wings, an angel falls into a town and becomes something like a zoo attraction. He doesn't speak and doesn't interact with anyone, just stoically bides his time until his wings heal and he wordlessly flies off. What is Márquez saying? The main sense in all these stories is of a fairy tale, but with all the dark elements, with wonderful characters, usually leaving us with a sense of how small they are in a strange wider world they will never understand. When the outside world comes, it seems everyone always ends up losing something to them, and when they branch out, the characters just disappear. Several of these are really quote terrific, and they all leave something to think about, even if it seems mostly through the authors restraint. He just has a way of writing up strange or fantastic events in the same flat fairy tale tone and it leaves the reader wondering. So, a fun a collection and a good start for my tour through his work.

  • Stefania T.
    2018-11-25 00:49

    "Sprofondò in una grata geografia, in un mondo facile, ideale; un mondo come disegnato da un bambino, senza equazioni algebriche, senza addii amorosi e senza forze di gravità".Quando mi succedono incontri, viaggi, letture, cibi e passamanerie, mi chiedo spesso quale sarà il loro ruolo - nel quadro complessivo, a conti fatti - quale sarà il loro valore nella mia vita, che è il mare che tutti li contiene.A volte, però, davanti a quel tipo di bellezza che non potevi concepire, i ruoli si invertono: non è più il mondo, nelle sue colorate chincaglierie, a trovare posto di volta in volta nella mia vita (e così caratterizzarla), ma è la mia vita - l'ultima di una serie infinita di vite altrui - ad essere il tassello di un enorme maestoso mosaico. Così, con questi racconti, non ho perso tempo a chiedermi quale posto destinare loro sulla libreria e nella memoria delle mie letture, ma piuttosto mi sono sentita compartecipe - in una sorta di fratellanza - di tutti quei lettori che hanno avuto la fortuna e l'onore di approdare a queste storie, benedetti.García Márquez - non riesco a scrollarmi di dosso questo tono religiosissimo che non mi appartiene - è un dono alla vita.

  • Rashaan
    2018-12-02 21:58

    Reading Gabriel Garcia Marquez is like coming home, a home crammed with the most wondrous oddities. Birds of wild plumage. Winds that scrape against sanity. Seas that overcome and drown you. But there's not a trace of cold heart-stopping fear. Marquez's realms are Sublime.Collected Stories is a compilation of three collections: Eyes of A Blue Dog, Big Mama's Funeral, and The Tale of Innocent Erendira and Her Heartless Grandmother. Respectively, each of these collections were originally published in: No One Writes to the Colonel and Other Stories, Leaf Storm and Other Stories, and Innocent Erendira and Other Stories, and I believe the difference between initial published collections and this compilation is that this text doesn't include the title novellas, save for "Innocent Erendira." Spanning work from 1947 to 1972, the first two stories of this compilation, from Eyes of a Blue Dog, are preoccupied with death. Though highly abstract, and, at the same time, visceral, the details twitch and flitter, making the skin crawl. Death elicits unease, yet this macabre obsession shows hints more toward a writer's meager canvas. The characters embody smallness of mind. An ego coddling itself? Much of the first collection is filled with amorphous plots and insulated characters. As the stories progress, and, as we move from one collection to another, we see Marquez step outside of his own neuroses and evolve as artist. His maturation is one of literature's greatest treasures. As the writer strengthens his style, the tales grow sophisticated with multiple characters, interaction, dialogue, and wild tangles of narrative.Most often, on the first read, Marquez may be difficult to analyze for literal meaning. We simply can't. Our instinct may be to kick back and enjoy the imagery, the sound of the language and the accumulation of tones and hues. What Marquez may lack in characterization and narrative, he certainly makes up for in description and imagery of time and space. From "Monologue of Isabel":"the notion of time, upset since the day before, disappeared completely then there was no Thursday. What should have been Thursday was a physical, jelly-like substance thing that could have been parted with the hands in order to look into Friday" (100)."Then it rained. And the sky was a gray, jellyfish-like substance that flapped its wings a hand away from our heads" (94).From "The Other Side of Death", "Gently wrapped in the warm climate of a covered serenity, he felt the lightness of his artificial and daily death. He sank into a loving geography, into an easy, ideal world, a world like one drawn by a child, with no algebriac equations, with no living farewells, no force of gravity" (17).From the collection Big Mama's Funeral, Marquez lends from Shakespeare in "There are no Thieves in this Town"; when husband and wife plot against their small home town in South America, they're soon torn asunder from guilt. The burden of masquerading as innocent proves too much for them. "One Day After Saturday" honors Woolf and Joyce. Marquez jumps from characters' thoughts and reveals how each are bound, in a small town, by a mysterious phenomena. We slip through them like wisps of air, feeling and knowing every individual breath and spirit. Marquez, in the spirit of the Modernists, challenges the singularity of existence. He affirms the beauty of fiction, the power of fiction, and the danger of stories in that we can find connection though we may feel estranged from even our closest loved ones.Death is still prominent but holds more meaning in the last collection The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother. Instead of a single pitiful life hanging in the balance, towards the end of the collection, mortality signifies the ruin of a country, the decay of a culture, and the corruptness of a civilization. "The Sea of Roses" is utterly intoxicating. A story that will hold you. Hunger and death are close siblings, clambering for our attention. "The Handsomest Drowned Man in the World" an absolute gem, the imagery and characters are embedded into my artistic DNA. A Christ-like tale, but not really, in this story, a stranger washes up on shore, and the town people's hearts grow wider, their faith and compassion, stronger. Instead of focusing on the afflicted man who inspired hope, we turn our gaze to the people themselves and revel in their own strength and beauty, their fatally exquisite flaws, which mean more collectively than the death, or life, for that matter, of a single man. "The Last Voyage of the Ghost Ship," another homage to the Modernists of Woolf and Joyce, is complete stream-of-consciousness, no punctuation. Thoughts bleed into each other. Readers, take your time with this one and be sure to come up for air so you can marvel in this tale that will consume you. This work must be kin to another of Marquez's from the collection, Strange Pilgrims, "Light is Like Water" where young boys push the boundaries of imagination and rebel against the pedestrian adult world. "A Very Old Man with Enormous Wings" is another tale burned to memory. All I can say is if you haven't read it, or any of the tales from Innocent Erendira, then you haven't really known how wonderful literature can be. As I read these tales, I grew hungry to learn their back stories. Where did Marquez get his characters? What snippets of conversations, snatches of songs and tidbits of heresy inspired these wonderful pieces of Art? Which ones were lifted from newspapers? Are the kernels of each from yarns his grandparents spun for him? How many are slips of childhood memories? Marquez's words are imprinted in the genetic makeup of all my writerly endeavors. I look to him as all life seeks bright rays of light.

  • فهد الفهد
    2018-12-08 02:55

    القصص القصيرة الكاملة يضم هذا الكتاب المجموعات القصصية التالية (عينا كلب أزرق)، (جنازة الأم الكبيرة)، (القصة الحزينة التي لا تصدق لإيرنديرا البريئة وجدتها القاسية) و(اثنتا عشرة قصة قصيرة مهاجرة). افتتحت بهذا الكتاب العام الجديد، كنت آمل أن ماركيز سيمنحني دفعة جميلة، ولكن للأسف تجرعت الكتاب ببطء طيلة الشهر، لا أدري ما الذي حدث؟ هل كان مزاجي لا يتناسب مع الواقعية السحرية هذه الأيام؟ أم أن المجموعة ولأنها كتبت على مدى 34 عاماً جعلها ثقيلة، أرجح هذا الاحتمال، لأني استمتعت بالمجموعتين الأخيرتين أكثر مما فعلت مع الأوليين. حيث غلب على المجموعة الأولى الأشباح، ولم يعجبني منها إلا قصة (المرأة التي تصل في السادسة)، من المجموعة الثالثة كانت قصة إيرنديرا وجدتها الأبرز، أما المجموعة الأخيرة فكانت هي الأبرز وخاصة قصص (طائرة الحسناء النائمة)، (جئت لأتكلم في الهاتف فقط)، (رعب آب) وهاتين القصتين نموذجين راقيين لأدب الرعب، (وأثر دمك على الثلج) قصة الحب التي فتنتني وآلمتني نهايتها.

  • Sarah saied
    2018-12-07 23:38

    في حضرة ماركيز من جديد..أفضل ما كتب في هذا الكتاب..هو أخر ما جاء بهتحديدا مجموعتي اثنتا عشر قصة قصيرة مهاجرة..والقصة العجيبة والحزينة لايرينديرا البريئة وجدتها القاسية..أسوا ما يمكن أن تبدا به جاء في بداية الكتاب تجديدا مجموعة عينا كلب أزرق..مجموعة غرائبية بامتياز تناولت الموت بسريالية لم ترق لي أبدا....ولكن أهم ما وضعتني هذه المجموعة أمامه هو أني لا أصلح لقراءة القصص القصيرة..ولست مغرمة بهذا اللون من الأدب أبدا .حتي ولو كان كاتبها العزيز ماركيز نفسه..رغم جودة العديد من القصص التي قرأتها في هذه المجموعة ..الا أني لم أندمج مع اي قصة منها باستثناء قصة ايرينديرا البريئة..ورحلة موفقة سيدي الرئيس..لطولهما النسبي بجانب جودة الكتابة أيضا...لذا ربما سيكون هذا الكتاب هو نهاية قراءاتي للقصص القصيرة...حتي اشعار آخر..

  • Radwa
    2018-12-05 22:05

    مجموعة قصص ماركيز القصيرة شبيهة لدرجة كبيرة برواياته حتى في إسهابها وتفاصيلها الكثيرة وطولها في حالة بعض القصص، لدرجة جعلتني أتذكر رواياته المذهلة.وقبل تعليقي على القصص، أبدي حزني على الترجمة، على رغم كونها جيدة بعض الشئ إلا أن هناك الكثير من الأخطاء في ترجمة الكلمات لبعض القصص التي قرأتها بالانجليزية من قبل والتي أعرفها، لذلك لاحظت الكثير من الأخطاء وهذا سئ، لأن القصص جيدة فعلا!بالعودة إلى القصص، أعجبني معظمها مثل:"عينا كلب أزرق" وكيف أنها تدور في حلمي شخصين مختلفين على ما يبدو ويتقابلان في الحلم وربما في الواقع أيضاً دون أن يعرف ذلكأو "الإذعان الثالث" المرعبة والتي تدور أحداثها من وجهة نظر شخص "ميت" قضى حياته بأكملها ممداً في تابوت.و "جنازة الأم الكبرى" والتي شعرت كما لو أنها امتداد لرواية "مائة عام من العزلة" كما لو أنها فصلها الأخير أو ما شابه.أما أطول القصص وأروعها هي "الحكاية العجيبة والحزينة لطيبة القلب إيرينديرا و جدتها القاسية"، وهذه ليست قصة قصيرة عادية. هي ملحمة فتاة ظلت تتبع جدتها القاسية وتنصاع لأوامرها لسبب لازلت أجهله، ولكن هذا ما أضفى على القصة روعتها.أما في "جئت لأتصل بالتليفون فقط" فقط شعرت برعب ماريا، وبداية القصة كانت مبهرة، رغم أنني لم أفهم نهايتها جيداً.وفوجئت من تصرف الأطفال في قصة "الصيف السعيد للسيدة فوربس" وأعجبتني قصة "رحلة طيبة يا سيدي الرئيس" للغاية!أسلوب ماركيز ساحر ويجعلك تغرق في تفاصيل قصصه سواء أكانت عشر صفحات أم مائة صفحة. لم أمل منه يوماً، أعتقد أن فكرة أن أبدأ بأكبر أعماله "مائة عام من العزلة" نجحت في منحي تلك المناعة والقدرة على قرائته دون كلل أو ملل.

  • FLAMES (Mariana Oliveira & Roberta Frontini)
    2018-12-04 02:05

    "Adorei o facto de o autor, fosse qual fosse a premissa do conto, conseguir sempre apresentar-nos o seu país, a Colômbia, através das suas descrições dos costumes, mitos, rituais e referências históricas dessa pátria. Após esta leitura fiquei cheia de vontade de viajar até ao continente sul-americano e ver com os meus olhos essas paisagens áridas e as aldeias paradas no tempo onde as tradições ainda conseguem resistir ao avançar dos tempos."Opinião completa no blogue: http://flamesmr.blogspot.pt/2016/12/l...

  • Mohammed Hussam
    2018-11-22 01:44

    يحتوي الكتاب على أربع مجموعات قصصية -(عينا كلب أزرق)، (جنازة الأم الكبيرة)، (القصة الحزينة التي لا تصدق لإيرنديرا البريئة وجدتها القاسية) و(اثنتا عشرة قصة قصيرة مهاجرة)- مكتوبة حسب التسلسلل التاريخي..لم تعجبني المجموعة الأولى..الثانية كانت أفضل قليلاً..أخر مجموعتين تستحقان القراءة، وتكشفان عظمة ماركيز كأديب أصيل..

  • Tony
    2018-12-05 00:03

    COLLECTED STORIES. (1984). Gabriel Garcia Marquez. ***1/2.This volume collects all the stories previously published by this author in the three earlier volumes of short stories: “Leaf Storm and Other Stories” (1972), “No One Writes to the Colonel and Other Stories” (1968), and “Innocent Erendira and Other Stories” (1978). These were the titles of the books as published in English. They were originally published under different titles in Spanish. The stories in this edition are published as if they were from the Spanish edition, and are in chronological order. Anyway…the first group comes from “Eyes of a Blue Dog,” and are mostly concerned with dying and death. We can be thankful that Garcia Marquez changed his focus after this first volume or his heritage would have been quite different. The second group comes from “Big Mama’s Funeral.” Here, the individual tales focus on specific people from a typical village. The tales here tend to be more towards the fantastic – relying on the use of native beliefs and superstitions. It was a chance for the author to more closely examine the nature of his fellow man and develop his sense of the moral tale. The collection from that book were excellent. The last set of stories comes from “The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother.” The title story actually first appeared in the author’s masterpiece, “One Hundred Years of Solitude,” though in a slightly different version. This is actually the highlight of the collection, and is, by far, the best known work. Years ago, sometime in the 1980s, I discovered that a movie based on this story had been produced. I don’t remember all of the details of who was in it, but I do remember that it was extremely well done. Back then, it was available as a rental from “Blockbuster.” I assume that it is still in print. If you seek for it and find it, make it a point to secure a copy for viewing. The key thing about this collection is that you can follow the mindset of the author through the years, and the various techniques he developed to get his stories across. This collection is as good a way to get into Garcia Marquez as possible. The stories are relatively short, and the themes are simple. This cannot be said about his novels, which all require a lot more dedication to understand. Recommended.

  • Ayman Zaaqoq
    2018-11-26 03:53

    عندما تقرأ لأديب عملاق مثل ماركيز فإن سقف طموحاتك يطاول السماء، لكنك تكون مهموما بعوامل أخرى كالترجمة، خصوصا وأن الروايات المكتوبة بغير الانجليزية لا تكون عادة مترجمة إلى العربية من لغتها الأم، وإنما تكون مترجمة من ترجمات أخرى وسيطة كالانجليزية و الفرنسية.لكن هذا الكتاب مختلف، فقد اجتمعت فيه الترجمة الجيدة جدا - المباشرة و الأدبية - للمنوفي مع الأدب الأصيل الذهبي لماركيز مع غلاف جميل للفنانة فاطمة العرارجي، بالإضافة إلى طباعة جيدة و سعر زهيد للغاية.الكتاب يضم اثنتا عشرة قصة قصيرة من الناحية الفنية، لكن كل قصة منها هي عصارة تجربة غنية و فكرة مذهلة. والرائع في أعمال ماركيز أنها في منتهى البساطة الشكلية – سهلة التناول و مشوقة – لكنها دسمة المعنى، فتشعر أن وراء كل قطعة معان مختلفة، فتعيد قراءتها مرارا بنفس المتعة و الدهشة الأولتين. ويتسم أسلوب ماركيز في هذه المجموعة بالسخرية اللاذعة، التي قد تدفعك للابتسام ووجهك مبلل بدموع المأساة المروية، وهذا جانب آخر من جوانب عظمته.بهرتني ثلاث قصص تستحق النجوم الخمس: "جنازة الأم الكبرى" التي تصور مشاكل العالم الثالث المقموع و المقهور، "إيرينديرا وجدتها القاسية" التي تصور إذلال الإنسان المفزع للإنسان و ما يتبعه، "رحلة طيبة يا سيدي الرئيس" التي تظهر أن ضعف الإنسان واحد مهما علا شأنه.يلي ذلك ثلاث قصص قيمتها بأربع نجمات: "قيلولة الثلاثاء"، "الموت الدائم قيما وراء الحب"، "جئت لأتصل بالتليفون فقط".كتاب جميل يستحق القراءة.

  • Clark
    2018-12-04 00:04

    So, first of all, I have been reading this off and on for about three years now and I finally decided about two weeks ago to give it a serious effort from the beginning. This is more than just an interesting collection of stories; it's a document of Marquez's growth as a writer. The first third of the book is frankly pretty terrible. It's filled with failed experiments in which Marquez grows closer to developing his signature magical realism, but these experiments instead come off as ghost stories that get bogged down in maudlin torpor. Then, something clicks. The next two thirds of the book are incredible. Marquez finds his voice and more importantly, he starts to serve the story. The characters go somewhere instead of stagnating in their own ghastliness. The stories themselves are richer and they say something. The three standouts are "A Very Old Man With Enormous Wings", "The Handsomest Drowned Man in the World" and "The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother".

  • Aseel
    2018-11-10 03:05

    اولا الترجمة جيدة ويتناول الكتاب مختارات قصصية منتقاة بدقة عالية فأولا نجد قصص مثل : الصيف السعيد للسيدة فوربس , وهي اول قصة يجب أن تقرأها في هذا الكتاب. ثم ريح الشمال , وبعد ذلك لك الحرية , واخترت القصتين دون غيرهما لانهما يمثلان دفعة جيدة لقراءة كافة القصص ,على عكس ما بدأ به الكتاب , والذي يؤدي إلى فتور اهتمامك بالكتاب , حيث بدأ بقصة يا إما مملة , يا إما سيئة الترجمة , او بكل بساطة لم افهمها او اتذوقها .لذى وجب علي التنويه.

  • Mariana
    2018-11-28 04:08

    Quando um génio da escrita decide escrever um livro de contos só poderiam surgir alguns dos melhores contos que alguma vez li!

  • Fábio
    2018-12-08 22:59

    Ler Gabriel García Márquez, ou Gabo como era carinhosamente conhecido pelos amigos, é como estar sentado numa praia deserta ao pôr-do-sol de Outono, com o vento ligeiro a voar os cabelos, enrolado numa manta quente, sentindo que estou em casa, que as peças do universo estão todas encaixadas.Premiado com o Nobel da Literatura em 1982, Gabo foi um escritor maravilhoso, mestre genial em descrever a realidade de forma mágica e lendária. Conheci-o pela sua amizade a José Saramago. E desde então que não tenho parado de o ler. Este livro reúne 41 histórias escritas desde os fins dos anos 40 até meados dos anos 90.Vale muito a pena ler. São histórias fantásticas que reflectem a cultura sul-americana, escritas em prosa mas de uma forma poética. São 709 páginas de magia.

  • Marcia Estima
    2018-11-10 22:59

    3,5 *

  • Mochizuki
    2018-11-16 22:04

    Dear Gabo: In you works many impulses and traditions cross each other. Folk culture, including oral storytelling, reminiscences from old Indian culture, currents from Spanish baroque in different epochs, influences from European surrealism and other modernism are blended into a spiced and life-giving brew. From it derives material and inspiration. The violent conflicts of political nature - social and economic - raise the temperature of the intellectual climate. Your superlative writing skills and the tapestry that’s evident from your stories complement the picture of a writer who combines the copious, almost overwhelming narrative talent with the mastery of the conscious, disciplined and widely read artist of language. Death is perhaps the most important director behind the scenes in your invented and discovered world. Often your stories revolve around a dead person - someone who has died, is dying or will die. A tragic sense of life characterizes your books - a sense of the incorruptible superiority of fate and the inhuman, inexorable ravages of history. The comedy and grotesqueness in YOU can be cruel, but can also glide over into a conciliating humor. With your stories you create a world of your own which is microcosmic, it is tumultuous, bewildering yet graphically convincing.You are a master,who leave an ineffaceable impression of magic, mystery and mastery.

  • Amber
    2018-12-05 22:02

    Marquez is the David Lynch of fiction - these stories read like dreams and every one is shot through with death. Beautiful corpses, drowned travelers, silent diseases, wandering spirits, unexpected magic, elegant decay.Once I realised that these were stories of atmosphere and were not, like Borges or Calvino, meant to give some kind of philosophical or intellectual satisfaction -- that rather, like dreams, they weave mysteries that aren't meant to be solved -- well, I liked them a bit better. Still, it's sometimes frustrating to have a situation set, the ropes of suspense rigged up tight... and then for there to be no release - just a vague feeling that there was a narrative there and that you've somehow been skirted around it. Like seeing a road accident far away, with the smoke billowing up towards the sky and the sound of ambulances and police cars, but the view is blocked, so that all you can do is stare at the dashboard of your own car and wonder. And remember perhaps that death is always there. Marquez is more interested in the dashboard than the accident, but maybe that is his genius maybe. And there are beautiful things here - paper butterflies that flutter our windows and ghost ships and dying angels. And prose! And surprises! But I didn't feel like I learned anything really, and I couldn't help but want to see the accident.

  • Aiyana
    2018-11-23 02:48

    An intriguing collection of stories, grouped into three sections of thematically related tales. Honestly, it was the table of contents that made me pick this one up-- after all, how can one resist the lure of stories with titles like "Eyes of a blue dog" and "Eva is inside her cat"?! That said, I barely made it through the first set of stories, which were very... metaphysical, perhaps? I am not sure of the right word to use here, so I'll fall back on a colloquialism: they were very "out there."I very nearly gave up a few times, but I'm glad that I didn't. The next two sections contained stories with a bit more linearity to them-- that is to say, they were stories with storylines, and I enjoyed them quite a lot. I have not been a big fan of this author's novels, in part because I have a limited tolerance for complex and lengthy descriptive sentences and excessive detail, but that writing style is perfect for short stories.Favorite quote, from "There are no thieves in this town""...her movements had the gentle efficiency of people who are used to reality." 114

  • Melinda
    2018-11-20 00:47

    Collected Stories contains twenty six short stories divided into three sections. The stories are in chronological order of their publication. You read Gabriel Marquez from his very early days to his more seasoned tenure as a writer. Gabriel Marquez writings as a whole clearly improves over time, this collection proves this point. The earlier stories were nothing spectacular and as the collection grows so does Marquez and his writing. I have enjoyed Gabriel Marquez in both short stories and novel length. He can be a bit redundant but when this man hits his stride at full speed there is no stopping him. This is a wonderful collection to introduce yourself to his writings or even as a refresher, maybe see just how his writing has evolved. Excellent sampler of Gabriel Marquez.

  • Ehsan
    2018-11-20 03:47

    متاسفانه تو مملکت ما ناشران محترم هر اسمی که دلشون بخواهد برای کتابهای دیگران انتخاب می کنند. بار ها شده یک کتاب رو من با چند اسم دیدم. قبلا رسم بود اسم اصلی اثر رو پشت جلد مینوشتند. حالا حتی اینکار رو هم نمیکنند. فی الحال این کتاب رو سرچ کردم و چون ندیدم اینجا اضافه میکنم.

  • Shaun
    2018-11-15 01:39

    Overall this was an interesting read especially since I'm a fan of Marquez and relished seeing the evolution of his writing over time. Though Marquez's voice was strong in the early stories, I'm not sure these more abstract attempts at magical realism represent his best work, though I suspect they served as a basis for his future writings and were a necessary step in his development as a writer. As a result, the first several stories weren't what I expected, yet still worth reading if only for the beautiful use of language and imagery. The last half of the book is much more in line with some other works that I've read and enjoyed, including Of Love and Other Demons and Memories of My Melancholy Whores.Some of the best stories in this compilation of short stories included: The Woman Who Came at Six O'Clock, There Are No Thieves in the Town, The Handsomest Drowned Man in the World, Blackman the Good, Vendor of Miracles, and The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother.Marquez is a genius at creating images using unexpected and odd pairings often mixing the senses to give the reader a fresh experience. For example in Night of the Curlews he writes: We caught the smell of sad women sitting and waiting. We felt the prolonged emptiness of the hall before us while we walked toward the door, before the other smell came out to greet us, the sour smell of the woman sitting by the door.From the Monologue of Isabel Watching It Rain in Macondo:At dawn on Thursday the smells stopped, the sense of distance was lost. The notion of time, upset since the day before, disappeared completely. The there was no Thursday. What should have been Thursday was a physical, jellylike thing that could have been parted with the hands in order to look into Friday.A final example from Tuesday Siesta:"God's will is inscrutable," said the Father.But he said it without much conviction, partly because experience had made him a little skeptical and partly because of the heat.Marquez is also a master at describing his characters in a way that makes them come to life on the page and represents the antithesis of cliche.From Balthazar's Marvelous Afternoon:He had two weeks' growth, short, hard and bristly hair like the mane of a mule, and the general expression of a frightened boy. But it was a false impression.AndHe was smoothly and delicately fat, like a woman who had been beautiful in her youth, and he had delicate hands. His voice seemed like that of a priest speaking Latin.From Tuesday Siesta:The woman seemed too old to be her mother, because of the blue veins on her eyelids and her small, soft, and shapeless body, in a dress cut like a cassock. She was riding with her spinal column braced firmly against the back of the seat, and held a peeling patent-leather hand-bag in her lap with both hands. She bore the conscientious serenity of someone accustomed to poverty.Finally and most importantly, his writing is passionate and has a seductive quality. His sex scenes are subtle and soft yet incredibly sexy.From my favorite and last story in the book, The Incredible and Sad Tale of Innocent Erendira: Excerpt contains a spoiler. (view spoiler)[Erendina lay down on the bed but he remained trembling where he was: at the decisive moment his determination had weakened. Erendira took him by the hand to hurry him up and only then did she notice his tribulation. She was familiar with that fear. "Is it the first time?" she asked him.Ulises didn't answer but he smiled in desolation. Erendira became a different person."Breathe slowly," she told him. "That's the way it always is the first time. Afterwards you won't even notice."She laid him down beside here and while she was taking his clothes off she was calming him maternally."What's your name?""Ulises.""That's a gringo name," Erendira said."No, a sailor name."Erendira uncovered his chest, gave a few little orphan kisses and sniffed him."It's like you were made of gold all over, " she said, "But you smell of flowers.""It must be the oranges," Ulises said.Calmer now, he gave a smile of complicity."We carry a lot of birds along to throw people off track," he added, "but what we're doing is smuggling a load of oranges across the border.""Oranges aren't contraband," Erendira said."These are," said Ulises. "Each one is worth fifty thousand pesos."Erendira laughed for the first time in a long while."What I like about you," she said, "is the serious way you make up nonsense."She had become spontaneous and talkative again, as if Ulises' innocence had changed not only her mood but her character. The Grandmother, such a short distance away from misfortune, was still talking in her sleep.She ranted on with great shouts and with a stubborn passion for several hours. But Ulises couldn't hear her because Erendira had loved him so much and so truthfully that she loved him again for half price while her grandmother was raving and kept on loving him for nothing until dawn. (hide spoiler)]

  • Derek
    2018-11-16 02:40

    this is hands down one of the most impressive short story collections I've ever read. it's taken me months to complete, coz I have read it only when I'm at my most Attentive which hasn't been much lately. but wow! what a literary masterpiece this collection was. a masterpiece.

  • Shawn
    2018-11-29 04:00

    "'What I like about you,' she said, 'is the serious way you make up nonsense.'" Innocent Eréndira from, "The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother"Eréndira's quote is for her lover, Ulises, but it is what every reader who has ever fallen in love with Garbriel Garcia Márquez' writing wished he or she had stated about him. For me, this quote sums up my feelings about Márquez. Whenever I pick up his texts, I prepare myself for the most serious nonsense in Literature, and I have not been disappointed.I came across Márquez' short stories only after reading 100 Years of Solitude some months ago, and only after reading 100 Years did I notice Márquez' name in my Literature Anthology, Literature: A Pocket Anthology (Penguin Academics), and promptly added his short story, "A Very Old Man with Enormous Wings" to the syllabus of my English 220: 20th Century Literature course. Unfortunately, my students were not as thrilled with Márquez as I, but my passion and interest must have been quite visible; and this is all I ask of myself in the classroom. Since that first reading, I have re-read that story three times. The second time was out loud to a friend—the very person who ignited my interest in Márquez (she had not read any of Márquez' short stories). And the last time was during my reading of these collected stories (I couldn't resist reading it again). I won't analyze each story—I'll leave that for someone else—but I will say this: you can feel Márquez' arc of writing as you progress through this collection. I was lost in the first 5-6 stories, comprising the first section "Eyes of A Blue Dog". They felt like an assault on my comprehension of what a short story should be; they seemed more like very long poems or digressions. But once Márquez stories became ensconced in the locale of Macondo (the infamous city of 100 Years) with "Monologue of Isabel Watching it Rain in Macondo," then the stories took off.Nearly half the stories in the second section, "Big Mama's Funeral," touched on a minor character or unexplored theme of 100 Years, and in this section is where you can see Márquez magic realism come to life. I imagined these tales as either addendum's or the tempered beginnings to 100 Years; and although these stories exist well upon their own, they are far richer when you are aware of the history of the town's inhabitants.Each story in the third section, the title story of the intro quote, is a dream. It is like a moving Picasso painting. It begins with "A Very Old Man," which sets the reader up for intense "serious nonsense". The next story, "The Sea of Lost Time" is absolutely magical. There is no other word for it but Magical. The cast of characters that weave in and out of these tales are simply wonderful, and like the reader, they simply must accept all fantastical things that come there way. These stories must be far less enjoyable for those who do not accept the authority of the author. If he writes that an angel appeared in this normal couple's back yard, then it must be. It is only when the reader accepts these notions that he/she is allowed to function in Márquez' world. Without accepting just one crazy phenomenon, then none of the others are possible; so, one must accept them all with eyes wide open and inhabit a wonderfully magical and folkloric world.

  • Aalaa
    2018-11-27 23:44

    there are no thieves in this town

  • Nick
    2018-11-21 02:56

    This collection comprises three books of stories, the early "Eyes of a Blue Dog", "Big Mama's Funeral", and "The Incredible and Sad Tale of the Innocent Erendira and her Heartless Grandmother". "Eyes of a Blue Dog" is a series of variations on the theme of death; they would be interesting if Gabriel Garcia Marquez had not gone on to be the most praised Latin American writer of his generation, but not overly so. It has some of the imagination and setting of the later work, glimmers of the interest in characters, but none of the broad sweep, the sense of history, family and community from which the later works derive much of their power. "Big Mama's Funeral" contains stories that presage the best-know novel. In these stories, Macondo makes its appearance, populated by exaggerated characters who undergo outsize events--the Pope attends the title funeral and there is a plague of dead birds in "One Day After Saturday". But there is also a sense of dispossession throughout, but especially in the poor couple at the center of "There are no Thieves in this Town" and the clear-eyed examination of strongman politics in "One of These Days." Death is once more central to "Tuesday Siesta" but with greater power, as a family travels to the grave of a lost son. That story presages not so much the baroque details of "One Hundred Years of Solitude" but instead the knowing compassion of "No One Writes to the Colonel" and "Chronicle of a Death Foretold." (One of the things that I regret about this book is that the copy that fell into my hands is in English; I find Colombian Spanish to have a limpid and refreshing clarity, and Garcia Marquez' use of that quality is masterful). In "Innocent Erendira", the stories in which are dated around and after the writing of "100 Years" veer more toward the fantastic vein. In "A Very Old Man with Enormous Wings" the device of placing the extraordinary among everyday Colombians is powerful, but it is one of the shorter and simpler stories. The longer stories tend to wander to no great effect. And the title story is dreadful: Garcia Marquez, who had so much to say about community and family, completely failed to understand the gravity of a young woman forced into prostitution by her mother. This is not in the vein of other writing, where he showed that he belonged to the with-a-heart-of-gold tradition, but if one is going to write on this theme, it has to be with the great deftness, and not with tools of exaggeration, some of it winsome. There are a few, quick mentions of the torment of the bed, but much more space is given to the men waiting in line. We know more about trafficking and awful families than he did then, and I am not asking for Lifetime-channel didacticism, but writers have the responsibility to understand what they take on (and presumably make money from), and here Garcia Marquez fails completely. Having read a fair amount of his work by now, I have come away more moved by the restrained and precise compassion of "No One Writes" and "Chronicle" (and, for that matter, "Tuesday Siesta") than by the pyrotechnics of "100 Years" and with his trademark blend of the fantastic and the mundane, especially within in the confines of the short story. In the stories of exaggerated reality, I am not sure that we come away at the end knowing much more about the people who populate them than we did at the start.

  • Katie
    2018-11-29 02:41

    Brilliant! Loved it. Will write more later.___Gabriel Garcia Marquez, Collected Stories.I loved them! I really did. I came in with no expectations...and was hit immediately by the jarring realization that this book falls entirely outside the realm of the genre of book I have been occupying myself with thus far. In a good way. What did the bus driver call it? Enchanted realism. (I can't remember). But whatever the official term for it is...the stories are poised as if set in reality, but with huge swathes of it are whimsical and mystical and fantastical...but conveyed as matter-of-factly as every day life. I've come to realize...I love short stories. As much as the pace of them takes some getting used to. In the beginning of the book, the stories were completely separate and stood alone (though with a common thread of time and death and dreams running through). Some of the stories toward the end gave hints of a common story world - primary characters from one story would come up as tertiary characters in another. I liked both techniques! The former method kind of reminds me of Sum (yes, Eagleman), where a new world was invented from scratch at the start of every new chapter. The latter method gave the stories more continuity, and it was easier to let go of the characters from one, and transition to the next. Also, the beauty of short stories (when done well) is that they convey so much meaning in so few words. Every line must be deeply intentional. Someone's entire character is encapsulated in a matter of sentences. Imagine if every line of every novel were so intentional! What would that be like? Now that I'm changing gears and swapping over to an Atwood novel, the style seems so tranquil and...meandering. Layers are slooowly being peeled away one...by one. It's a new thing for me to talk about the "pace" of a piece of writing, but it seems valid, doesn't it?Anyways, here are some of my very favorite quotes, that will hopefully inspire you to read this book too:"There was no one at the station...On the other side of the street, on the sidewalk shaded by the almond trees, only the pool hall was open. The town was floating in the heat" (101)."The alcohol was leaving him, in concentric waves, and he assumed once more the weight, the volume, and the responsibility of his limbs" (113). "The world had been sad since Tuesday. Sea and sky were a single ash-gray thing and the sands of the beach, which on March nights glimmered like powdered light, had become a stew of mud and rotten shellfish" (203). "When they heard the music, distant but distinct, the people stopped chatting. They looked at one another and for a moment had nothing to say, for only then did they realize how old they had become since the last time they'd heard music" (217).