«Cada novela es un deicidio secreto, un asesinato simb?lico de la realidad. Publicado a comienzos de la d?cada de los setenta y desaparecido de las librer?as desde hace muchos a?os, este ensayo, que en su origen fue la tesis que le vali? a Vargas Llosa en 1971 el t?tulo de doctor por la Universidad Complutense de Madrid, muestra la admiraci?n del Nobel peruano por Garc?a M?rquez y por su novela Cien a?os de soledad. En ?l se analiza en profundidad la obra del autor colombiano, compa?ero de Vargas Llosa en el boom de la literatura latinoamericana. «Obsesiva; recurrente, una intenci?n central abraza la obra de Garc?a M?rquez, una ambici?n ?nica que sus ficciones van desarrollando a saltos y retrocesos, desde perspectivas diferentes y con m?todos distintos. Este denominador com?n hace que sus cuentos y novelas puedan leerse como fragmentos de un vasto, disperso, pero al mismo tiempo riguroso proyecto creador, dentro del cual encuentra cada uno de ellos su plena significaci?n. Esta voluntad unificadora es la de edificar una realidad cerrada, un mundo aut?nomo. Un escritor no elige sus temas, los temas lo eligen a ?l. Garc?a M?rquez no decidi?, mediante un movimiento libre de su conciencia, escribir ficciones a partir de sus recuerdos de Aracataca. Ocurri? lo contrario: sus experiencias de Aracataca lo eligieron a ?l como escritor. Un hombre no elige sus "demonios" le ocurren ciertas cosas, algunas lo hieren tanto que lo llevan, locamente, a negar la realidad y a querer reemplazarla. Esas "cosas", que est?n en el origen de su vocaci?n, ser?n tambi?n su est?mulo, sus fuentes, la materia a partir de la cual esa vocaci?n trabajar?. No se trata de reducir el arranque y el alimento de la vocaci?n a una experiencia ?nica. Pero en el caso de Garc?a M?rquez la naturaleza de su obra permite afirmar que aquella experiencia, sin negar la importancia de otras, constituye el impulso principal para su tarea de creador. ENGLISH DESCRIPTIONEach novel is a secret decision, a symbolic murder of reality.' Published at the beginning of the seventies and then disappearing from bookstores for many years, this essay, which was originally the thesis that earned Vargas Llosa a doctorate in 1971 from the Universidad Complutense de Madrid, shows the admiration the Peruvian Nobel Prize winner had for Garc?a M?rquez and for his novel One Hundred Years of Solitude. In it, the work of the Colombian author, Vargas Llosa's contemporary during the boom of Latin American literature, is analyzed in depth. "Obsessive; recurring, a central intention embraces the work of Garc?a M?rquez, a unique ambition that his novels develop in leaps and bounds, from different perspectives and with different methods. This common denominator means that his stories and novels can be read as fragments of a vast, dispersed, but at the same time rigorous creative project, within which, each one of them finds its full significance. This unifying will is to build a closed reality, an autonomous world." A writer does not choose his subjects, the subjects choose him. Garc?a M?rquez did not decide, through a free movement of his conscience, to write fiction based on his memories of Aracataca. The opposite happened: his experiences in Aracataca chose him as a writer. A man does not choose his "demons: " certain things happen to him, some hurt him so much that they lead him, madly, to deny reality and want to replace it. Those "things", which are at the origin of his vocation, will also be his stimulus, his sources, the material from which that vocation will work. It's not about reducing the start and nourishment of the vocation to a unique experience. But in the case of Garc?a M?rquez, the nature of his work allows us to affirm that that experience, without denying the importance of others, constitutes the main impulse for the creator's task.
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