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“This is where his gifted storytelling emerges,” says Raymond Williams, a professor of Latin American literature at the University of California, Riverside, who has written two books about the author.
Prior to the series, he suggests, García Márquez had been writing somewhat amateurish short stories.
Now, says Williams, he was rising to the challenge of constructing a lengthy narrative: “The ability he has to maintain a level of suspense throughout is something that later became a powerful element of his novels.” n fact, it was the reporter’s capacity to anatomize human behavior—rather than simply pass along the facts—that first drew García Márquez to the newsroom. Elvira’s article made me aware of the reporter I carried sleeping in my heart and I resolved to wake him. García Márquez ended up leaving law school and working for a series of Colombian newspapers.
n 1955, eight crew members of a Colombian naval destroyer in the Caribbean were swept overboard by a giant wave.
A month after his rescue, Velasco walked into El Espectador’s newsroom and offered the exclusive rights to his story.
He had already told his tale to innumerable reporters as well as government officials, and the staff doubted he had anything new to add to the record.
The diva was so arrogant and supercilious that she refused to answer any questions. Before many years passed I would prove this in my own flesh, until I came to believe, as I believe today more than ever, that the novel and journalism are children of the same mother . Yet he aspired to cover more substantive issues, including politics and government corruption, and to pursue investigative projects. and I knew that Salgar was the best teacher.” The editor taught him to how to communicate his ideas clearly and pare down his florid prose.
Finally, her husband intervened and salvaged the interview. When he was first hired at El Espectador, García Márquez hoped to impress an editor by the name of Jose Salgar. Every time Salgar read one of García Márquez’s stories, he made “the strenuous gesture of forcing a cork out of a bottle and said, ‘Wring the neck of the swan.’ ” Soon, García Márquez was assigned the kinds of projects he had dreamed of pursuing.