Collected Stories

ISBN: 0060932686
ISBN 13: 9780060932688
By: Gabriel Garcí­a Márquez Gregory Rabassa J.S. Bernstein

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Classics Currently Reading Latin America Latin American Magic Realism Magical Realism Short Stories Short Story Stories To Read

About this book

Collected here are twenty-six of Gabriel Garcia Marquez's most brilliant and enchanting short stories, presented in the chronological order of their publication in Spanish from three volumes: Eyes of a Blue Dog, Big Mama's Funeral, and The Incredible and Sad Tale of lnnocent Eréndira and Her Heartless Grandmother. Combining mysticism, history, and humor, the stories in this collection span more than two decades, illuminating the development of Marquez's prose and exhibiting the themes of family, poverty, and death that resound throughout his fiction."Infinitely compelling....In all these stories, however surreal, there are moments of sudden, unexpected beauty."--Jan Morris, The Independent"Tiny masterpieces....Garcí­a Márquez's wonderful world is joyful."--Alberto Manguel, Globe and Mail

Reader's Thoughts


I wish my mom read these short stories to me when I was little before going to sleep. These 12 unbelievable stories give joy to anyone who reads them with an open mind and heart. Gabo is definitely one of the greatest of all the times.


It goes without saying that Márquez is one of the most prolific writers of our time, but I'll say it anyway because I don't think it can ever be said enough. Of his works, all of which are incredibly astounding in my view, I found his Collected Stories to be a particularly special treat because it allows for us to delve into Márquez's wild imagination not once, but twenty-six times. This book of his most acclaimed short stories includes Márquez's most fantastical, other worldly tales, including my personal favorite, "Eyes of a Blue Dog" about lucid dreaming. His ability to use and manipulate words and language in their most basic forms is really something to be experienced. I only wish I could read Spanish well enough to enjoy his stories in his native tongue, as I'm sure they are even more beautiful. But no matter what language you read it in, Collected Stories is an excellent introduction for new Márquez readers to become acquainted with his writing style and fall in love with his work.

Rami Khrais

من الصعب تقييم كتاب من هذا النوع، لأنّه يشكّل، عبر تتبعه للقصص القصيرة التي كتبها ماركيز خلال حياته الأدبيّة الغنيّة، سجلّا لتطوّر الكاتب وأمزجته المختلفة في بلدان وعوالم سرديّة وخلفيّات متعدّدة، وهو ما تستطيع أن تلمسه في الاختلاف البيّن بين المجموعتين القصصتين الأوّلين واللتين لم أنسجم معهما بالقدر الذي انسجمت به في المجموعتين الثانيتين اللتين يقتربان من روح القص اللاتيني الذي يمزج حكايات العرّافات والأساطير مع الواقع، الأقرب للأسطورة هو الآخر، في بلاد جبال الأنديز الحارّة المناخ والقلب الجمعي في آن معا. شدّتني إلى حد بعيد قصّة "إرينديرا الساذجة وجدّتها القاسية" وكنت قد قرأتها وأنا في رحلة قصيرة في القطار، ورحت أتخيّل السهول الخضراء في قلب إنجلترا أمامي وقد استحالت إلى صحراء شاسعة رافقت فيها إرينديرا في رحلتها المريرة بين الجنس القسري والحب المستحيل والالتزام الأبدي بالتقليد. أمّا قصّة "القديسة" قد وقعت في قلب موقع كل أدب أو حكاية تلعب على الحنين والحزن الشخصي والخاص، حزن الشخصيّات الاستثنائيّة والوحيدة والهامشيّة. يبقى أنّ أهمية هذه المجموعة تكمن، بالنسبة لكثير من المهتمين، في تمكيننا من تتبع الخط السردي لماركيز، ورصد التحوّل الذي بعث هذه التفاصيل الصغيرة في قصصه لتطبع خطّا روائيا كاملا مؤثرا في الأدب العالمي.


I had such high hopes for this one. Being a person who is fascinated with the dark and the gloomy, I figured from the title of some of these stories, that I was in for a delicious treat. Not so much......I mean, they were okay but I don't like reading things that don't flow. It starts to feel like homework. I asked myself, 'Should I be taking notes? Maybe I should make an outline.....' Why am I not being entertained? It's funny because the premises made for really good ideas for stories but it never really happened. There's a story in here that doesn't have not ONE period for the entire story. Some may call that clever. Come on now..... Overall, one of those books that you need cliff notes and a very knowledgeable English professor on hand to understand.

Ayman Zaaqoq

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.


Maravilloso, como siempre lo es García Márquez. Te hace soñar sin apenas darte cuenta. Es muy interesante este recorrido por su historia como escritor a través de sus cuentos. En los primeros, los de "Ojos de perro azul", queda claro que el lenguaje es lo suyo, pero todavía sentí que había exploración, incluso cierta inseguridad, en lo que escribía. Inconexos, repetitivos a veces, la obsesión por la muerte llega a aburrir. Después, poco a poco se va definiendo el García Márquez que ha llegado a ser quien es. Imposible que entre tantos cuentos todos sean maravillosos, pero incluso los que me gustaron menos se disfrutan. Gloriosos los de "Los funerales..." y los de "La triste historia..." Muy, muy disfrutable, para revisitarlo muchas veces.


Marquez has a talent for the surreal and this collection of short stories is a fine example. The first half of the collection wander through the completely bizarre landscapes of spirits and ethereal presence, while the second is far more structured and less fantastical.There are a number of wonderful tragedies told in these stories and they are done with a caring and gentle touch. The writing doesn't shock or sensationalise the stories and instead presents them simply, leaving the shock and horror to be something of your own creation and not Marquez's. I must admit that at times I found it difficult to get excited about what I was reading, but I think that's kind of the point anyway. These stories aren't written to be blockbusters... instead they're beautiful portraits resting on the wall... easily ignored if one forgets to look closely.


مجموعة جميلة ورائعة ربما لم تنال بعض القصص أعجابي ولكنها مجموعة رائعة بحق فانها تمثل روئيه تامه لفكر ماركيز الروائي فهذه المجموعة كتبت على مدار 35 سنة من عام 1947 إلى عام 1982والجميل في ذلك أنك سترى التغير والتنوع في كتابة القصص لدى ماركيز وكذلك سترى الخيال المبهر الذي يجلعني وأنا اقراء الرواية أصدق أحاديثة وخيالة خصوصا قصة الضوءكالماء فهي قصة عجيبه بحق.ملاحظات جانبيةأول قصة في هذهـ المجموعة كتابها ماركيز كان عمرهـ 20 سنه.أول ظهور لقرية ماكوندو في خيال ماركيز عام 1955أول ظهور لريبيكا زوجة خوسية أركاديو بوينديا أخ الكولونيل عام 1962 قبل صدور مئة عام من العزلة بخمس سنوات وذلك في قصة يوم السبت ومن نفس القصة تم ذكر أحداث موجودة في مئة عام من العزلة مثل موت الطيور وقتل خوسية قبل صدور الرواية.هذا ما لدي وهنا سأضع القصص التي تستحق خمسة نجوم بالنسبة لي(مونولوج إيزبيل وهي ترى هطول المطر في ماكوندو, قيلولة الثلاثاء ,أجمل غريق في العالم , الضوء كالماء)وهناك قصص آخرى جميلة كذلك مثل الاذعان الثالث وعينا كلب ازرقوالقديسة ولكن ما بين قوسين هو أجمل ما راق لي والناس أذواق


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.


Apgāda "Atēna" izdoto Gabriela Garsijas Markesa krājumu "Neticamais un skumjais stāsts par tiklo Erēndiru un viņas cietsirdīgo vecmāmiņu" veido septiņi maģiskā reālisma caurstrāvoti stāsti, kuri tapuši sešdesmitajos un septiņdesmitajos gados. Tēli darbojas eksotiskā telpā, tie lidinās starp dabas stihijām tāpat kā starp murgiem un realitāti, piemēram, skumjā Erēndira savas vecmāmiņas cietsirdīgo pavēļu "ieeļļota" savā kustībā bezgalīgos mājas darbus dara miegā. Viņu mājas ir pelnu trauslas. Tāpat arī darbojas slīkoņi, kas tiek izskaloti no okeāna un turpina mirdzēt pēc nāves, būdami vēl dzīvāki nekā jelkad simtgadu tālajā dzīves laikā. Tikmēr kādā citā stāstā lietus var līt tik spēcīgi, ka debesīs kļūst redzamas zivis. Bet ikvienā stāstā jaušama nāves klātbūtne. Nāve ir skaista, ciešanas ir apgarotas. Arī teikumi ir poētiski, reizēm tos varētu salīdzināt ar svelmi. Tie karsē, brīžam lasītājam neļaujot remdēt slāpes. Tie ir biezi kā Dienvidu gaismas. Piemēram, stāsts "Spoku kuģa pēdējais brauciens", gluži asociatīvi saistoties ar Džeimsa Džoisa "Ulisa" Mollijas monologu, ir septiņu lappušu garš teikums. Starp citu kādā citā stāstā darbojas Uliss, kas, nesot šī pasaules apceļotāja vārdu, kļūst vientuļš uz mūžu ar zaļajām nozieguma asinīm uz pirkstiem. Un mīlestība ir nāves cēlonis.


I feel a little guilty rating this book because I didn't actually finish it. What I did read was mostly painful. I have to throw out there, I have never been a fan of the writer or the genre. I picked up this book as part of a book club commitment and for a friend. I am always left feeling like I am missing something when reading GGM or that I am just not smart enough to get him. I also find his writing dark or maybe it would be better described as death draped in bright colors but for me there is always this sense of foreboding. That could be because I am waiting to understand something. There is a reason GGM is as loved as he is by so many, I just haven't figured it out yet.

Hany Adieb

قصص قصيرة متنوعة .. من مجموعات كتبها غبريال جارسيا ماركيز .. هو له من الاسلوب العميق .. و السرد الفني المبدع ، تناول فيه مسائل مثل الحياة و الموت ، و التدين الزائف ..


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. 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Cecily Erker

This is one of the most difficult things I have ever read; it took me almost a month to get through it. I was at the library trying to find a copy of 100 Years of Solitude but they didn't have one, so I checked out this collection of his early short stories. His earliest writings are sometimes so abstract as to be obnoxious and once he uses the gimmick of writing a short story in one long sentence with hundreds of commas, but it was probably through these writings and his early experimentation with magical realism that he arrived to the economy and power of his later, greater novels. I've only read Love in the Time of Cholera so far, but I definitely saw glimpses of it in his evocations of place and time and the inner lives of his characters. Each story gets progressively better and you get to see the process of almost thirty years of his gradual maturation as a writer. I would not recommend this for beginning readers of Marquez because many of these writings, though beautiful, still evade my comprehension because they're so weird and so outside the norms of time and space and physical reality, but his images and ideas are so thought-provoking that you could spend an eternity puzzling over them.

Greg Brown

This is the first I've read by Marquez and OK, I guess.One of Marquez's themes that becomes clear over the course of these twenty-six stories is the way that the odd quickly becomes familiar, and how some things that are familiar are actually rather odd in practice. The first batch of stories, published as "Eyes of a Blue Dog" in Spanish, are insistently concerned with the limits of physical existence. The characters experience blindness, death, and other hardships tied to their bodies. Marquez finds a way to pick out the salient details, creating drama out of even a man shaving himself using his own reflection.That reflection story in particular manages to hint at his later moves towards the fantastic. The third and final batch of stories starts with the excellent story "A Very Old Man with Enormous Wings," which chronicles the arrival in town of a very old man with enormous wings. Initially a spectacle, he quickly ceases to hold any value for the town's residents, forced to subsist on mush in a chicken coop. Marquez shows how the ordinary can subtly be fantastic by presenting a fantastic situation that quickly turns ordinary. I suppose this is an aim of the larger magical realism movement too.The voice is hard to pin down, too. It's got that slippery feel of translated prose to it, but not the simple, plain-spoken quality of Murakami's take on magical realism. It can be sensuous one moment, and clinical the next. It dives into characters and spins out of them just as quickly. It refuses to be pinned down, but still feels as if it was all written by the same author. I could never really get my thumb on it, partially because the stories span such a length of time in the developing talent of Marquez.Overall, it was a pleasure to read but I can't say that I was blown away like I was by some of the other stuff I've read recently. The stories did have their wonderful moments, but they were diffuse and not quite as discrete-blow-to-the-cranium as the best ones are. The book felt weird, but too comfortable for my taste. Maybe it's because today's authors have already digested and iterated on Marquez's style, but the whole experience felt like I was reading something I'd seen somewhere else. I can understand why my friend Maggie so eagerly pushed it on me, but the effect was more of recognizing why it's good, not feeling why it's good.

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