Gabriel García Márquez

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Gabriel José de la Concordia Garca Márquez (March 1927--April 2014) was a Colombian novelist, short-story writer, screenwriter, and journalist, best known by the acronym Gabo [ga'ßen] or Gabito [ga'ßito] throughout Latin America.

He was named in 1972 Neustadt International Prize in Literature and 1982 Nobel Prize in Literature, making him one of the twentieth century's best writers and one of the best in the Spanish language.

He pursued a self-directed education that culminated in him leaving law school for a career in journalism.

He had no reservations about Colombian and foreign policy from the start.

Mercedes Barcha married Mercedes Barcha in 1958; they had two sons, Rodrigo and Gonzalo.Garca, but Márquez's best known for his books were One Hundred Years of Solitude (1967), The Fall of the Patriarch (1975), and Love in the Time of Cholera (1985).

His books have received critical acclaim and widespread commercial success, most notable for promoting a literary style known as magic realism, which uses magical elements and experiences in otherwise mundane and realistic settings.

Some of his creations are set in Macondo, which is mainly inspired by his birthplace, Aracataca, and the bulk of them explore the theme of solitude. Juan Manuel Santos, Colombia's President, referred to Garca Márquez's death in April 2014 as "the best Colombian who ever lived."

Early life

Gabriel Garca Márquez was born in Aracata, Colombia, on March 6, 1927, to Gabriel Eligio Garca and Luisa Santiaga Márquez Iguarán. Garca Márquez was born in Garca, Mexico, where his father and his wife moved to Barranquilla, leaving young Gabriel in Aracataca. Doa Tranquilina Irquez Mejá and Colonel Nicolás Riz Mejá were raised by his maternal grandparents. His father took him and his brother to Sincé in December 1936, while his grandfather died in March 1937; the family moved first (back) to Barranquilla and then onto Sucre, where his father established a pharmacy.

When his parents fell in love, Luisa Santiaga Márquez's father, Colonel Luisa Santiaga Márquez, reacted angrily. Gabriel Eligio Garca was not the man the Colonel had envisioned winning the heart of his daughter: Gabriel Eligio, a centrist, and had the reputation of being a womanizer. After her father sent her away with the intention of dissociating the young couple, Gabriel Eligio wooed Luisa with violin serenades, love poems, scores of letters, and even telephone messages. Her parents tried everything to get rid of the guy, but he kept coming back, and it was clear that their daughter was committed to him. (Love in the Time of Cholera will later be adapted and recast as Love in the Time of Cholera).

His grandparents influenced Garca Márquez's early childhood greatly, although his parents were more or less strangers to him for the first few years of his life. His grandfather, whom he described as "Papalelo," was a Thousand Days War Liberal veteran. The Colonel had been regarded as a hero by Colombian Liberals and was highly regarded. He was known for his refusal to remain anonymous about the banana massacres that occurred a year after Garca Márquez was born. The Colonel, who Garca Márquez described as his "umbilical cord with both history and truth," was also a good storyteller. Garca Márquez taught Garca Márquez lessons from the dictionary, took him to the circus every year, and was the first to introduce his grandson to ice, which was a "miracle" at the United Fruit Company store. He would also tell his young grandson, "You can't believe how much a dead man weighs," reassured him that there was no greater burden than killing a man, a lesson that Garca Márquez would later incorporate into his books.

Dogna Tranquilina Irquez, Garc's grandmother, played a key role in his upbringing. He was inspired by the way she "treated the extraordinary as something perfectly natural." The house was brimming with tales of ghosts and premonitions, omens, and portents, all of which were studiously dismissed by her husband. Garca Márquez said she was "the source of the magical, superstitious, and supernatural vision of reality." He loved his grandmother's unusual way of telling stories. No matter how amazing or improbable her speeches were, she still delivered them as if they were the undisputed truth. It was a deadpan style that had a major influence on her grandson's most popular book, One Hundred Years of Solitude, for thirty years.

Garca Márquez should begin his formal education and he was sent to an internship in Barranquilla, a port on the Ro Magdalena's mouth. There, he made a name for himself as a stumbling boy who wrote comedies and drew parody comic strips. He was identified El Viejo by his classmates as a young boy with a keen interest in athletic pursuits.

Garca Márquez spent his first years in high school, beginning in 1940 in the Colegio Jesuita San José (today Instituto San José), where he published his first poems in the school journal Juventud. Gabriel was taken to study in Bogotá, then moved to Liceo Nacional de Zipaquirá, a town one hour from the capital, where he would complete his secondary studies.

He excelled in various sports during his time at the Bogotá university and became team captain of the Liceo Nacional Zipaquirá team in three sports: soccer, baseball, and track.

Garca Márquez stayed in Bogotá to study law at the University Nacional de Colombia in 1947, but the bulk of his spare time was reading fiction. Franz Kafka's La metamorfosis, particularly in Jorge Luis Borges' false translation, was a work that particularly inspired him. He was excited by the prospect of writing, not traditional literature, but in a way similar to his grandmother's tales, in which she "inserted extraordinary events and anomalies as if they were simply an ordinary part of everyday life." He aspired to be a writer. "La tercera resignación," his first piece, which appeared in the newspaper El Espectador's 13 September 1947 edition, appeared a few years later.

Despite his passion for writing, he continued with law in 1948 to please his father. Following the assassination of popular king Jorge Eliécer Gaitán, the Bogotazo riots were held on April 9th, and his boarding house was burned. Garca Márquez joined the Universidad de Cartagena and began as a reporter for El Universal. He dropped his journalistic studies in 1950 and moved to Barranquilla to work as a columnist and reporter in El Heraldo, a newspaper published in Barranquilla. Despite the fact that Garca Márquez did not complete his higher education, several universities, including Columbia University, New York, have awarded him an honorary doctorate in writing.

Garca Márquez began his career as a journalist while attending law at the National University of Colombia. He wrote for El Universal in Cartagena in 1948 and 1949. He wrote a "whimsical" column for Barranquilla's local newspaper, "Septimus." Garca Márquez recalled his time at El Heraldo, "I'd write a piece and they'd pay me three pesos for it" and "maybe an editor for another three." During this time, he became a member of the Barranquilla Club, a writer and journalist club that provided a lot of encouragement and guidance for his literary work. In One Hundred Years of Solitude, he collaborated with pioneering figures such as Ramon Vinyes, whom Garca Márquez portrayed as an Old Catalan who owns a bookstore. Garca Márquez was also introduced to the writings of writers such as Virginia Woolf and William Faulkner at this point. Many Latin American writers were influenced by Faulkner's narrative techniques, historical themes, and the use of rural locations. Garca Márquez received a world-class literary education as well as a unique view of Caribbean history in Barranquilla. Garca Márquez spent time in Bogotá and regularly wrote for Bogotá's El Espectador. He was a regular film critic.

Garca Márquez, a Brazilian writer, accepted a job in Caracas with the newspaper Momento, headed by his friend Plinio Apuleyo Mendoza in December. He arrived in Venezuela's capital on December 23, 1957, and began working at Momento right away. Garca Márquez was present at the 1958 Venezuelan coup d'état, which culminated in the exile of President Marcos Pérez Jiménez. Garca Márquez wrote an article entitled "The participation of the clergy in the resistance" in Venezuela's resistance to Jiménez's reign. He went to Colombia in March 1958, where he married Mercedes Barcha and the two families returned to Caracas together. He resigned and became the newspaper Venezuela Gráfica's editor in May 1958, after disagreeing with the owner of Momento.

Garca Márquez was a "committed leftist" throughout his life, adhering to socialist ideals. He wrote Changing the History of Africa, an admiring research of Cuban civil war and the larger South African Border War. He maintained a close but "nuanced" relationship with Fidel Castro, celebrating the Cuban Revolution but also praising aspects of government and attempting to "soften [the] country's roughest edges." Garca Márquez's political and ideological convictions were influenced by his grandfather's tales. Garca Márquez told Plinio Apuleyo Mendoza, "my grandfather, the Colonel was a Liberal." My political convictions probably came from him early because instead of giving me fairy tales when I was young, he'd regale me with horrific accounts of the last civil war waged against the Conservative government." Garca Márquez's socialist and anti-imperialist views influenced his political convictions and literary style so that "in the same way that his writing career began in conscious opposition to Colombia's literary status quo," he wrote.

"British Navy vessel's shipwreck occurred because the ship had a heavily stowed container of contraband that broke loose on the deck," he said in a series of 14 news stories. Garca Márquez compiled this article from interviews with a young sailor who survived the crash. The articles sparked a public debate because they discredited the official account of the shipwreck and glorified the surviving sailor.

In reaction to this scandal, El Espectador sent Garca Márquez from Europe to be a foreign correspondent. He wrote about his experiences with El Independence, a newspaper that briefly replaced El Espectador during General Gustavo Rojas Pinilla's military government but was later shut down by Colombian officials. Garca Márquez's experience in journalism gave him a solid base for his writing career. "Garca Márquez is, of all the great living authors, the one closest to everyday life," literary critic Bell-Villada wrote.

Garca Márquez was one of the original founders of QAP, a Colombian newscast that aired between 1992 and 1997. The project attracted him by the promise of editorial and journalistic autonomy.

Garca Márquez met Mercedes Barcha when she was at school; she was 12 and she was 9. Mercedes waited for his return to Barranquilla when he was sent to Europe as a foreign correspondent. They married in 1958, but they were not married in 1958. Rodrigo Garca, the first son of the family's first son, now a television and film producer, was born in the following year. The family travelled by Greyhound bus through the southern United States in 1961 and later settled in Mexico City. Garca Márquez had always hoped to visit the Southern United States because it inspired William Faulkner's writings. Gonzalo Garca, the couple's second son, was born in Mexico three years ago. Gonzalo is now a graphic designer in Mexico City.

Garca Márquez had a daughter, Indira Cato, from an extramarital affair with Mexican writer Susana Cato in the early 1990s, according to a transcript in January 2022. Indira is a Mexican documentary film maker.

Garca Márquez's first bookla, Leaf Storm (La Hojarasca), was released in 1955 and took seven years for Garca Márquez's first novella. "Out of all that he'd written (as of 1973), Leaf Storm was his favorite because it was the most sincere and spontaneous," Garca Márquez writes. On Wednesday, all the events of the novella took place in a half-hour period. It's the tale of an old colonel (similar to Garca Márquez's own grandfather) who is trying to offer a proper Christian burial to an unpopular French doctor. The colonel is only supported by his daughter and grandson. The novella delves into the child's first encounter with death by following his stream of consciousness. Isabel, the Colonel's daughter, is also included in the book, which gives a feminine perspective.

Garca Márquez's second book, titled "Evil Hours," was published in 1962. Este pueblo de mierda (This Town of Shit, or "This Shitty Town") was originally published in the book. In One Hundred Years of Solitude, several of the characters and situations that were present in In Evil Hour re-appear.

Garca Márquez, who was 18 years old, wanted to write a book based on his grandparents' house, where he grew up. However, he had trouble finding an appropriate tone and put off the idea until one day, when driving his family to Acapulco. He turned the car around and the family returned home so he could start writing. When he wrote, he sold his car so his family could have enough money to live on. He wrote every day for 18 months; writing the book took much longer than he expected. His wife had to request food from their butcher and baker as well as nine months of rent from their landlord. Garca Márquez's writing partner, Eran Carmen and lvaro Mutis, and Mara Luisa Elo and Jomo Garca Ascot all night and discussed the novel's progress, trying out various versions. When the book was published in 1967, it became his most commercially profitable book, One Hundred Years of Solitude (Cien aos soledad; English translation by Gregory Rabassa, 1970), which has sold over 50 million copies. "Para (to) Jom (to) Garca Ascot y Mara Luisa Elo")" was dedicated in the book. Several generations of the Buenda family from the time they established the fictional South American village of Macondo, through their trials and tribulations, evidences of incest, births, and deaths. Critics often generalize Macondo's past to represent rural towns in Latin America or at least near Garca Márquez's hometown Aracataca.

The book was widely distributed and resulted in Garca Márquez' Nobel Prize and the Rómulo Gallegos Prize in 1972, as well as the Rómulo Gallegos Prize. Hundreds of research and books of literary criticism have been published in reaction to William Kennedy's call it "the first piece of literature since the Book of Genesis that should be mandatory reading for the entire human race." Despite the numerous awards the book earned, Garca Márquez continued to deny it's popularity. "Most commentators don't know that a novel like One Hundred Years of Solitude is a bit of a joke, full of warnings from close friends," he said, and that, with some pre-ordained right to pontificate, they assume the responsibility of decoding the book and risking making poor fools of themselves."

After writing One Hundred Years of Solitude Garca Márquez, a writer who brought his family and his family, to Barcelona, Spain, for seven years. Garc's international recognition with the publication of his book resulted in his ability to act as a facilitator in many talks between the Colombian government and the rebels, including the former 19th of April Movement (M-19), as well as the new FARC and ELN groups. In Gabo and Fidel: Portrait of a Friendship, the success of his writing has resulted in friendships with influential figures, one with former Cuban President Fidel Castro, which has also been explored. He was punched in the face by Mario Vargas Llosa during what became one of modern literature's biggest feuds. "Ours is an intellectual friendship," Claudia Dreifus says in an interview with Claudia Dreifus in 1982 Garca Márquez writes about how his Castro experience is mainly based on literature: "Ours is a cultural friendship." Fidel isn't well-known that he is a very cultured man. We read a lot about literature when we're together." Reinaldo Arenas, a Cuban exile writer, wrote about this union in his 1992 book Antes de que Anochezca (Before Night Falls).

Garca Márquez was branded as a subpoena and for many years, US immigration authorities refused visas to him due to his recent rise and outspoken views on US imperialism. After Bill Clinton was elected president of the United States, he lifted the travel ban and cited One Hundred Years of Solitude as his favorite book.

When Garca Márquez, the Venezuelan dictator Marcos Pérez Jiménez' flight landed, he was inspired to write a draconian story. "It was the first time we had seen a tyrant fall in Latin America," he said. Garca Márquez started writing Autumn of the Patriarch (El oto del patriarca) in 1968 and said it was complete in 1971, but he continued to embellish the dictator book until it was published in Spain in 1975. The book, according to Garca Márquez, is a "poem on the solitude of power" as it follows the life of an eternal tyrant known as the General. The novel is based on a series of anecdotes related to the General's life, but it does not appear in chronological order. Despite the fact that the plot's precise location is not pin-pointed in the book, the fictional country is located somewhere in the Caribbean.

Garca Márquez gave his own account of the plot: Garca Márquez gave his own account of the story:

After the Patriarch's publication in autumn, Garca Márquez and his family migrated from Barcelona to Mexico City and Garca Márquez, a Márquez's sister announced that they will not publish again until Chilean Dictator Augusto Pinochet was deposed. But as Pinochet was still in office, he eventually published Chronicle of a Death Foretold, as he "could not remain silent in the face of injustice and repression."

Innocent Eréndira and Her Heartless Grandmother (Spanish: La increible y triste historia de la cándida Eréndira) tells the tale of a young mulatto girl who dreams of independence but is unable to escape the reach of her avaricious grandmother.

The novella's plot follows 14-year-old Eréndira's life when she mistakenly sets fire to their house. When traveling the road as vagrants, the grandmothers convince Eréndira to pay the loan by becoming a prostitute. Men, groups, and women are lining up to enjoy Erendira's services. Ulises, her maternal grandmother, helps her recover with the help of her devoted and slightly gullible companion, but only after murdering her grandmother. Eréndira, the woman's grandmother, flies off into the night alone, leaving him in the tent with the corpse.

In One Hundred Years of Solitude, Garca Márquez's first book, Eréndira and her grandmother appear.

In 1972, the Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother was published. The novella was adapted to Ruy Guerra's 1983 art film Eréndira.

A tale about a death Foretold (Crónica de una muerte anunciada), which literary critic Ruben Pelayo's attempt to portray a combination of journalism, realism, and detective, is inspired by a real-life murder that took place in Sucre, Colombia, in 1951, but Garca Márquez maintained that no part of the actual events have occurred beyond the point of departure and the building. Santiago Nasar's appearance is based on a good friend from Garca Márquez's childhood, Cayetano Gentile Chimento.

The novel's plot revolves around Santiago Nasar's assassination. As the story progresses, the narrator acts as a detective, uncovering the sequences of the murder. The tale "unfolds in an inverted way," Pelayo says. Instead of progressing forward, the plot shifts backward."

A death Foretold's Chronicle was published in 1981, the year before Garca Márquez was given the Nobel Prize in Literature in 1982. In 1987, the book was also turned into a film directed by Italian director Francesco Rosi.

Time of Cholera (El amor del cólera) was first published in 1985. "Lovemakers find love in their 'golden years' — in their seventies — when death is all around them."

Love in the Time of Cholera is based on two couples' lives. Fermina Daza and Florentino Ariza's teen love is based on Garca Márquez's love affair. However, Garca Márquez said in an interview, "the only difference is [my parents] married." And literary figures were no longer relevant as literary figures as soon as they were married. The love of old people is based on a newspaper article about two Americans, who were nearly 80 years old and who lived in Acapulco every year. They were out in a boat one day and were stabbed by the boatman with his oars. "The tale of their unexplained romance became known through their death," Garca Márquez wrote. They had piqued my interest. They were each married to other people."

In 1996, the news of a Kidnapping (Noticia de un secuestro) was first published. It is a non-fiction book that investigates a string of similar kidnappings and narcoterrorist activities carried out in Colombia in the early 1990s by the Medelln Cartel, a drug cartel established and operated by Pablo Escobar. The text chronicles the abduction, detention, and potential release of key figures in Colombia, including politicians and journalists of the press. The book's original plan was delivered to Garca Márquez by former education minister Maruja Pachón Castro and Colombian diplomat Luis Alberto Villamizar Cárdenas, both of whom were among the many victims of Pablo Escobar's attempt to compel the government to stop his extradition by committing a string of kidnappings, assassination attempts.

Vivir concordante, the first of a three-volume autobiography, Garca Márquez's memoir, appeared in 2002. Living to Tell the Tale, Edith Grossman's English translation, was published in November 2003. Memories of My Melancholy Whores (Memoria de mis putas tristes), a love story that follows the romance of a 90-year-old man and a boy forced into prostitution in October 2004. My Melancholy Whores caused uproar in Iran, where it was banned after an initial 5,000 copies were printed and sold.

Garca Márquez's imagination is often described as either visual or graphic, and he himself says that each of his stories is influenced by "a snapshot," so it comes as no surprise that he has a long and involved film history. He founded and served as executive director of the Film Institute in Havana and wrote several screenplays. He coproduced Juan Rulfo's El gallo de oro in his first script. Tiempo de morir (1985), (1985), and Un se seor muy viejo con unas enormes (1988), as well as the television series Amores difciles (1991).

Garca Márquez wrote his Eréndira as a third screenplay. This version was removed and replaced by the novella, but it was still available. Nonetheless, he worked on rewriting the script in collaboration with Ruy Guerra, and the film was released in Mexico in 1983.

Many of his stories have inspired other writers and directors. In 1987, French director Francesco Rosi directed the film Cronaca di una morte annunciation based on the Chronicle of a Death Foretold. Several film adaptations have been produced in Mexico, including Miguel Littner's La Viel (1979), Jaime Humberto Hermosillo's Maria de mi corazón (1979), and Arturo Ripstein's El coronel no tiene quien le escriba (1998).

Love in the Time of Cholera, Colombia, was directed by British filmmaker Mike Newell (Four Weddings and a Funeral), with the screenplay written by Ronald Harwood (The Pianist). On November 16, 2007, the film was released in the United States.

Hilda Hidalgo, a Costa Rican filmmaker who is a graduate of the Film Institute in Havana, where Garca Márquez would often host screenplay workshops. Hidalgo's film was released in April 2010. Péter Eötvös, a Hungarian composer, was inspired to write the opera Love and Other Demons, which premiered at the Glyndebourne Festival in 2008.

Garca Márquez was misdiagnosed with pneumonia rather than lymphatic cancer in 1999. Chemotherapy at a hospital in Los Angeles was successful, and the disease went into remission. Garca Márquez's memoirs started writing his memoirs: "I reduced contact with my friends to a minimum, disconnected the phone, ended the phone, and cancelled the trips and all sorts of current and future plans," he told El Tiempo, the Colombian newspaper, "and locked myself in to write every day without interruption." He wrote Living to Tell the Tale (Vivir Contarla), the first volume in a planned trilogy of memoirs, three years later.

La Repblica, Peruvia's national newspaper, mistakenly reported his impending death in 2000. Another newspaper published his suspected farewell poem, "La Marioneta," the next day, but Garca Márquez denied being the author of the book, which was found to be the work of a Mexican ventriloquist.

"This [year] was the first [year] in my life in which I hadn't written a single word," he said. With my knowledge, I could write a new book with no glitches, but people would know my heart wasn't in it."

Garca Márquez was finishing a new "novel of passion" that had yet to be identified in May 2008, and it would be published before the year's end. However, Carmen Balcells, Garca Márquez's assistant, told the Chilean newspaper La Tercera in April that he was unlikely to write again. Random House Mondadori editor Cristobal Pera's assertion that Garca Márquez was writing a new book titled We'll Meet in August was disputed (En agosto nos vemos).

Garca Márquez told followers at the Guadala book fair in December 2008 that the writing had compelled him out. "Not only is it not true, but the only thing I do is write," he told Colombian newspaper El Tiempo in 2009.

Jaime Garca Márquez, his brother, revealed that he was suffering from dementia in 2012.

Garca Márquez was hospitalized in Mexico in April 2014. He had infections in his lungs and urinary tract, and was dehydrated. He was doing well with antibiotics. "I wish him a speedy recovery," Mexican President Enrique Pea Nieto posted on Twitter. In a tweet, Colombian President Juan Manuel Santos said his country was concerned about the author and that "anyone of Colombia wishes a speedy recovery to the greatest of all time: Gabriel Garca Márquez."

Garca Márquez died of pneumonia at the age of 87 on April 17 in Mexico City. Fernanda Familiar on Twitter and Cristóbal Pera, his former editor.

"One Hundred Years of Solitude and Sadness for the death of the world's greatest Colombian of all time," Colombian President Juan Manuel Santos said. "Master Garca Márquez, thanks forever, millions of people in the world fell in love with our country, fascinated with your words," former Colombian President lvaro Uribe Vález said. Garca Márquez had a wife and two sons at the time of his death.

Garca Márquez was cremated at a private family gathering in Mexico City. The presidents of Colombia and Mexico held a formal event in Mexico City on April 22nd, where Garca Márquez had lived for more than three decades. The urn carrying his ashes from his house to the Palacio de Bellas Artes, where the memorial service took place. Residents of Aracataca, Colombia's Caribbean region, held a symbolic funeral earlier this year. Gabriel Garca Marquez's heirs deposited a writer's memory in his Memoriam in the Caja de las Letras of the Instituto Cervantes in February 2015.

Later life and death

Garca Márquez was misdiagnosed with pneumonia rather than lymphatic cancer in 1999. Chemotherapy at a hospital in Los Angeles was successful, and the disease went into remission. Garca Márquez's memoirs were inspired to write every day without interruption, "I slowed the contact with my friends to bare minimum, disconnected the phone, ended the telephone, ended the phone, canceled the calls, and scrapped all existing and future plans." He published Living to Tell the Tale (Vivir Contarla), the first volume in a planned trilogy of memoirs, three years later.

By the Peruvian daily newspaper La Repblica, his impending death was mistakenly announced in 2000. Other newspapers republished his ostensibly farewell poem, "La Marioneta," but Garca Márquez denied authorship of the poem, which was later found to be the work of a Mexican ventriloquist.

"2005 [was] the first [year] in my life in which I hadn't written even a single word," he said. I could write a new book without having any difficulties, but "people would know my heart wasn't in it."

Garca Márquez, a writer who had yet to be given a name, was announced in May 2008 that a new "novel of passion" was underway, with a new "novel of love" that would not be published by the year's end. However, Garca Márquez's agent, Carmen Balcells, told the Chilean newspaper La Tercera that he was unlikely to write again in April 2009. Random House Mondadori editor Cristobal Pera said Garca Márquez was writing a new book titled We'll Meet in August (En agosto nos vemos).

Garca Márquez told fans at the Guadala book fair in December that writing had worn him out. "Not only is it not true," he told Colombian newspaper El Tiempo that his literary agent and biographer's assertion that his writing career was over, but the only thing I do is write."

Jaime Garca Márquez's brother Jaime found the Garca Márquez was suffering from dementia in 2012.

Garca Márquez was hospitalized in Mexico in April 2014. He had infections in his lungs and urinary tract, and he was dehydrated. He was doing well with antibiotics. "I wish him a speedy recovery," Mexican President Enrique Pesa Nieto wrote on Twitter. Venezuelan President Juan Manuel Santos said his country was worried about the author and posted a tweet: "All of Colombia hopes for a speedy recovery to the greatest of all time: Gabriel Garca Márquez."

Garca Márquez died of pneumonia at the age of 87 in Mexico City on April 17. Fernanda Familiar announced his death on Twitter, as well as his former editor Cristóbal Pera.

"One Hundred Years of Solitude and Sadness for the death of the world's best Colombian of all time," Colombian President Juan Manuel Santos wrote. "Master Garca Márquez, thank you so much, millions of people in the world fell in love with our country, and your words," former Colombian President lvaro Vález said. Garca Márquez had a wife and two sons at the time of his death.

Garca Márquez was cremated at a private family gathering in Mexico City. The presidents of Colombia and Mexico held a formal event on April 22 in Mexico City, where Garca Márquez had lived for more than three decades. The urn containing his ashes from his house to the Palacio de Bellas Artes, where the memorial service was held. Residents of Aracataca, Colombia's Caribbean region, held a symbolic funeral hundreds of years ago. In February 2015, Gabriel Garca Marquez's heirs left a tribute to the writer in his Memoriam in the Instituto Cervantes' Caja de las Letras.

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