Collected Stories by Gabriel García Márquez, Gregory Rabassa, J. S. Bernstein

By Gabriel García Márquez, Gregory Rabassa, J. S. Bernstein

Amassed tales brings jointly a lot of Gabriel Garcia Marquez's spellbinding brief tales, each one brimming with a mix of the surreal, the paranormal, and the standard that Nobel-Prize-winner and writer of 1 Hundred Years of Solitude Marquez is understood for.

Sweeping via crumbling cities, vacationing gala's and windswept ports, Gabriel Garcia Marquez introduces a number of notable characters and groups in his mesmerising stories of lifestyle: smugglers, bagpipers, the President and Pope on the funeral of Macondo's respected matriarch; a each outdated angel with huge, immense wings, stranded in a tender couple's again backyard; a city affected by demise birds that fall from the sky and an awestruck village captivated by means of a stunning drowned sailor. Teeming with the mystical oddities for which his novels are enjoyed, Marquez's tales are a delight.

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Qxd 4/13/04 2:10 PM Page 34 34 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 sh 34 reg 35 D a v i d F o s t e r Wa l l a c e innocuous icon’s face tended to bleed in his mind into one face, crude and line-drawn and clever in a small way, a design that someone might find some small selfish use for but could never love or hate or ever care to truly even know. Some of the shoppers inside the first-floor display window of the Gap observed the mass of people on the sidewalk craning upward and wondered, naturally, what was up.

Whose own character’s clear marriage of virtue, pragmatism, and oracular marketing savvy were his best and final argument; he was saying to these upper-management men in their vests and Cole Haans just what he proposed to have them say to a sorry and cynical US market: Trust Me You Will Not Be Sorry — which when he thinks of the starry-eyed puerility and narcissism of these fantasies now, a rough decade later, Schmidt experiences a kind of full-frame internal wince, that type of embarrassment-before-self that makes our most mortifying memories objects of fascination and repulsion at once, though in Terry Schmidt’s case a certain amount of introspection and psychotherapy (the latter the origin of the self-caricature doodling during downtime in his beige cubicle) had enabled him to understand that his professional fantasies were not in the main all that unique, that a large percentage of bright young men and women locate the impetus behind their career choice in the belief that they are fundamentally different from the common run of man, unique and in certain crucial ways superior, more as it were central, meaningful — what else could explain the fact that they themselves have been at the exact center of all they’ve experienced for the whole 20 years of their conscious lives?

N. spots was a seminal example of this sort of multivalent pitch, Terry Schmidt said (tweaking Awad again and letting the small secret thrill of it almost make him throw a puckish wink at the smoke detector), as too was Jolt Cola’s brand name’s double entendre of a ‘jolt’ both to the individual nervous system and to the tyranny of dilute and innocuous soft drinks in an era of trendy self-denial, as well of course as Jolt’s well-packaged can’s iconic face with its bulging crossed eyes and electricized hair and ghastly fluorescent computer-room pallor — for Jolt had worked to position itself as a recreational beverage for digital-era phreaks and dweebs and had managed at once to acknowledge, parody, and evect the computer-dweeb as an avatar of individual rebellion.

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