El otoño del patriarca

ISBN: 9681317076
ISBN 13: 9789681317072
By: Gabriel Garcí­a Márquez

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About this book

El tema de El otono del patriarca, que por su estructura y su lenguaje no tiene precedentes en la literatura latinoamericana y ni siquiera en la obra del autor, son las ilusiones y la soledad irremediable del poder encarnadas en una figura anonima y mitica que es la de muchos patriarcas de la America Latina pero tambien, de algun modo, el protagonista ejemplar de las calamidades y tribulaciones humanas que aqui se manifiestan como representaciones de un delirio omnipotente y solitario, de destruccion y pesadumbre.

Reader's Thoughts


.رائعة ماركيز هذههي عن ديكتاتور أفرط في الديكتاتورية والغروركان عمره طويلًا جدًا مما جعله يظن نفسه خالدًامتوحش ومقزز لدرجة جعلتني أتخيله معمر القذافيالرواية كلها تحكي عنه، كيف يعيش وكيف ينظر لنفسه والأهم ماهي أفكاره ونظرته الداخلية تجاه نفسه وشعبه وأمه ومخاوفه ورغباته، مما يقرب القارئ لحقيقة هذه الشخصية المقززة والذي يزيده احتقارًا لها.ماركيز هنا أبدع بالوصف الدقيق حتى أنه يجعل القارئ يرى الأحداث بوضوح وهو يقرأفكأني كنت في غرفة البطريرك ومجلس اجتماعاته وبين البرصى والمشلولين والعميانو و و....رواية جميلة تبين أنه مهما ازداد الظالم بغيًا وغرورًا فإنه سيظل انسانًا ضعيفًا لا يملك من أمره إلا القليل، والأهم أنه مهما ازداد عمرًا فإنه سينتهي يومًا

Molly Ison

This is less a novel and more an experience. Sometimes it's beautiful, sometimes rewarding, sometimes frustrating, sometimes fascinating and sometimes boring. I cannot say that I enjoyed every word from beginning to end but nevertheless I was astonished at the craftsmanship in the way the text was shaped. In most ways, this craftsmanship was The Autumn of the Patriarch's greatest strength. There can be absolutely no doubt, both from the history of the author to what's present in the reading, that this is a work of careful art. It's best, IMO, to let it wash over you. In a small way, this was a distraction for me though, to never forget how carefully sculpted each sentence is. Like being in a gallery of a great painter, each painting hung in a frame, I could look in amazement and admiration, but never touch.


on the whole, the novel is impressive. i can't imagine what it took for him to write this whole thing the way that he did. most of the sentences run for ten pages, moving from one point-of-view to another without warning, from dreams to real-life (maybe?)action. at the beginning of each chapter, we are reminded that the patriarch of the novel's title is dead, but we are quickly taken back to years before his death and pushed through memories of the years leading up to his first fake and then real death. it certainly makes your head spin, and it's difficult to read less than 40 pages at a time without completely losing track of what the hell is going on.his technique of using one event as the touchstone from which he begins each section of the book, in this one the death of the patriarch, is common for marquez, but this stream-of-consciousness style of writing is not. what makes it more intriguing is how any given sentence switches from the 1st- to the 3rd-person point-of-view, and is usually delivered by at least 3 different characters. factor in that the characters telling the story are sometimes extremely minor and therefore hard to keep track of and you become quite dizzy.all of this said, however, the style works with the subject matter. the main character doubles as both protagonist and antagonist, and marquez does such a good job of winning the reader's sympathy for him that by the time he is filling a crate full of children with concrete in order to more easily dispose of them in the ocean, we have forgotten that he is a monster, that we hate him. the narrative style makes it clear that marquez does this on purpose. knowing what is known about him politically (he has infamously opposed numerous latin american leaders throughout history) combined with what is known about him as a deeply romantic humanitarian, all of this makes sense. his dictator is painted on one hand as horrific, maniacal, and frighteningly self-absorbed and on the other hand as troubled, insecure, and confused by his own power. i struggled with this one, in part because it didn't do what his other books do for me. approaching it with that expectation was a bad idea, though. i usually read "100 years of solitude" every summer, and i have found marquez to be a perfect travel companion, particularly if i'm going into mexico; his stories are always dreamlike with such a strong dose of reality added to the characters and relationships that i enjoy his books the same way i enjoy a good drug experience. this story was not a comment on human relationships, however, as much as it was on the nature of leadership and the vulnerability of those being lead. all in all, i'd say it's definitely worth picking up, but be sure you've got some time to commit to digesting it properly.


While on a word by word level the language is often lyrical and inventive, this book suffers from overinflective prose and a sort of misleading vividness. What results is plot totally dominated by the character alluded to in title... an intentional fallacy often compounded with monotonous hyper-emphasis... I say intentional because the narration is simultaneously doing all sorts of stunts - changing person(s), refusing paragraph breaks, making asides - to draw attention to itself. In the end, I couldn't connect with any of the characters being yanked here and there. The narrative noise was so inflective and incessant as to overwhelm everything else. Said another way, everybody (even the narrator even the wolf) was crying wolf nonstop and I guess I just forgot to care.


Marquez's style seems well suited to stream of consciousness writing, and this novel's portrait of a tyrannical, despotic, utterly human "President for Life" is engrossing, to say the least.Unfortunately it's also nearly impossible to wrap your brain around. Without any chapter breaks or paragraphing to speak of, with fewer periods on a page than there are uncommercialized countries in the world, it's nearly impossible to read leisurely. You have to race through, trying to hold all the ideas together before they are inevitably jumbled into a confusing hodgepodge of decency and villainy.Of course, this is part of Marquez's plan. His anonymous protaganist is equal parts inviting and repulsive, and melding all these traits together is utterly appropriate. It's also, to put it simply, utterly confusing.

Riyadh Hammady

المرة الثانية التي أقرا فيه هذه الرواية وشتان بين القراءة الأولى والقراءة الثانية ففي القراءة الأولى التي كانت قبل حوالي عشر سنوات لم أكمل الرواية على ما يبدوا فقد شعرت بالملل وذلك بسبب تكنيك الرواية والحقيقة أن كثير من القراء حول العالم شاركوني هذا الشعور والسبب في ذلك ربما يعود لتكنيك الرواية الفريد وأسلوب السرد الذي جعل من الرواية جملة طويلة لا تنتهي. والسبب الثاني يرجع إلى أفق توقعات القارئ الذي كان قد ألف واستمتع بمائة عام من العزلة وتوقع أن أي رواية قادمة ستكون على شاكلتها لكن ماركيز خيب ظننا جميعا قراءً ونقاداً على حد سواء وخيبة الظن هنا إيجابية كون ماركيز لم يرد لروايته ” خريف البطريرك ” أن تكون نسخة أخرى من “مائة عام من العزلة” ومن ثم بذل جهدا جبارا من أجل ابتكار أسلوب جديد ليصوغ به روايته ” خريف البطريرك “. على كل حال فالرواية أخذت مكانها الذي يليق بها بين الروايات العالمية الأكثر شهرة وإدهاشا ليس فقط لدى النقاد بل ولدى القراء أيضا. وهكذا يبدوا أن روايتنا هذه تحتاج على الأقل لقرائتين كي تكتشف عمقها وتسبر غور براعتها. مقاطع من الرواية:” كان يحلم بأن يعيش تلك اللحظة من السعادة حتى ولو توجب على الطبيعة أن تتخلى عن قوانينها وعلى الكون أن يخرب كانت رغبته في ذلك قوية بحيث انتهى إلى أن توسل إلى فلكييه أن يخترعوا له نجما مذنبا من أسهم نارية نيزكا تنينا من شرر وباختصار جهازا فلكيا مرعبا إلى حد كفيل بإحداث دوار من الخلود لدى امرأة جميلة إلا أن الشيء الوحيد الذي تمكنوا من بلوغه بعد حساباتهم كان كسوفا كاملا للشمس يوم الأربعاء من الأسبوع التالي في الساعة الرابعة بعد الظهر سيدي الجنرال فقبل بذلك, موافق . وكانت ليلة حقيقية في وضح النهار بحيث لمعت النجوم …”“إنسان كانت سلطته من القوة بحيث سأل ذات يوم كم الساعة الآن, الساعة التي تريدها سيدي الجنرال أجابوه , وكان ذلك صحيحا , إذ أنه لم يكن يحوِّر لحظات النهار فقط من أجل حسن سير أعماله بل كان أيضاً يعدل تواريخ الأعياد المتوجبة عيناً كي يتمكن من التطواف من عيد شعبي إلى آخر في سائر أنحاء البلاد …” 104” كان يكفي أن يشير ببنانه إلى الأشجار التي ينبغي أن تُثمر والحيوانات التي ينبغي أن تكبر والرجال الذين ينبغي أن ينجحوا , لقد أمر بإلغاء المطر من الأماكن التي يعيق فيها المحصول وجعله ينزل في الأراضي الجافة , وهو ما حدث ” 105لن أطيل القراءة في قراءة خريف البطريرك فما هي إلا دعوة لعيش هذه الرواية ولكني أنصح من لم يقرأ ماركيز بعد أن لا يبدأ بقراءة هذه الرواية وأنصحه أن يبدأ بقراءة ” مائة عام من العزلة ” ثم ” الحب في زمن الكوليرا ” حتى يرى التنوع الذي يمارسه ماركيز في إبداع رواياته فهو لا يكرر نفسه أبدا ويبدوا أن هذا لا يحدث في رواياته فقط بل وفي قصصه القصيرة أيضا لدرجة أن مقالاته أيضا لها طابعها الماركيزي الخاص جرب مثلا ” غريق على أرض صلبة” .قالوا : ” لا يعتبر الكتاب جيدا ما لم يُقرأ مرتين أو ثلاث ” وعليه فهذه الرواية لا تستحق قرائتين فقط بل أكثر من ذلكhttp://thowarlogy.wordpress.com/2011/...


It took Garcia seven years to write this book. Seven years. I guess that's how long it takes to make sure fifty-page chapters are turned into one paragraph and as few sentences as possible. But the effect is to make the entire book run together and make each story within the story melt into the ones around it. The consequence is ending the reader's sense of chronology, timeline, and even details. We are only left with the horrible man - and leader - that was the patriarch. And when the story about him seems unending, the reader feels what his subjects felt. Kundera wrote that people living under a dictatorship lose all concept of time. As their brains adapt to the life they're left with, it replaces any memory of former times with current memories about despotism. The ultimate consequence is that people cease to know anything but despotism; everyone feels as though the dictator has been there forever. That is what Garcia writes about in this book, and that is what his style creates for the reader. It is quite amazing.And since Garcia writes about "his Czech friend" in his memoirs, it is fair to assume that those two men run their book ideas past one another. To have a cup of coffee and sit in on that conversation might just be the coolest thing ever.


Maintaining lucidity is a central challenge for both audience and protagonist in the dizzying and illusory narrative of Marquez's Autumn of the Patriarch. While its easy to dwell on the uncompromising style of a novel devoid of paragraphs, punctuation, and quotations delineating dialogue, such blurry tactics seal the bizarre entrancement of a novel concerned with the solitude of a bastard patriarch. Certainly it's no easy pie being tossed randomly into an unspecified Caribbean climate and period, but for those readers willing to tunnel into the narrative, a luscious comfort settles in and Marquez's familiar descriptive and story-telling abilities begin to sparkle. In the words of the author: "my most important problem was destroying the lines of demarcation that separates what's real from what's fantastic," of which he succeeded marvelously. Time periods shift in mid sentence, making it difficult to establish an objective point of reference between past and present, transitioning from narrative voice into undifferentiated dialogue in an endless stream of dreamlike storytelling. An eccentric and daunting cast of scheming subordinates, presidential impostors, deceptive right-hand men, fine-tailored assassins, foreign dignitaries, and erstwhile nun love interests litter the storyline in the endless shifting between invisible arrangements of power. But what's so redeeming about all of this, the disorienting prose and the frequent descriptive escapades, is the substantive exploration of power and illusion lying underneath it all. What is power if not a perception? An artifice exercised through others' mutual perception? Marquez underscores this artfully and brilliantly in his use of magical realism, heaving his readers into the same boat of illusions as his characters. One wavers like the throngs of peasants outside the general's palace, questioning his power -even his existence- one moment, exalting in it and praying for him days later. It's a calm delirium everyone gets used to. After all, don't we all, in various self-serving ways and forms, blamelessly submit to and exert control over one another? Marquez does not limit his comment to just those in positions of ultimate authority. There is a kind of symbiosis existing in the compatible illusions maintained across and between the layers of Caribbean society; between the general and his officers' fealty, the public and their expectations of royal power, between the general and his own position of authority, all transpiring unspoken and intimately connected. It all starts to feel so patently absurd as the novel spirals tighter and tighter into itself. You are left feeling the distant despair of life as some ridiculously orchestrated illusion, like an elephant floating by a balloon string, maintained by the inexplicable conviction that if we all pretend it floats, it really must.It's easy to condemn the despicable and senseless acts governing the conscience of such a corrupt, festering patriarch, hell bent on perpetuating his appearance at all costs. Yet Marquez's careful attention to nuance while exploring the psyche of supreme power inspires a kind of sympathetic melancholy meditation of sorts, while simultaneously constituting a scathing, mocking indictment. Ultimately the illusion of power, or lack thereof, becomes all-reaching and unintelligible, even swallowing up the emperor himself. In his abject loneliness, pity replaces envy, power feels like a pestilent disease, and one is left with the conclusion that wherever happiness or a meaningful life may lie, the hierarchies of power afford little direction.

Hemdan Ahmed

هو ماركيز لا اكثر ولا اقل ..ربما ان المشكله عندي ربما ؛؛لكن في كل الاحوال النجمتين ليست لماركيز و انما للرائع محمد على اليوسفي الذي يبدو انه بذل جهدا كبيرا لتخرج الترجمة بهذا الشكل ..

بثينة العيسى

هذه رواية من العيار الثقيل، وهي لأصحاب النفس الطويل في القراءة، ليس بالضرورة لطول المحتوى، بل لدسامته، وهي تفتح لك عالما من الواقعية السحرية التي دشن ماركيز معالمها ببراعة ..أنصح بقراءته.

Abanob Ibrahim

this my Gabriel Garcí­a Márquez best novel of all time I read this one after the 25th January revolution in Alexandria how fragile was that dictator in both the novel and reality makes so dump how could we let him treat us like that how could we let him get so corrupted you can't imagine the similarity between that dictator and those we had in the arabic world Mubarak sold Egypt to foreigners Ben Ali and that other one before him had all the women in Tunisia And of course Qaddafi and that one I don't think I should've even mention him I wish my country never face that again

Ariel Cruz

Very dreamlike and compelling. Don't be intimidated by the paragraphless format, the sparse punctuation or the constantly shifting prspective. That would certainly be a problem if applied by less capable hands then Marquez's, but in this case we're dealing with a narrative that is less discursive and then impressionistic. It's like hearing the collective thought of a whole town about one subject. Remarkable. Probably the closest we'll see to oral story-telling in print form.


Autumn of The Patriarch by Gabriel Garcia MarquezMagical Realism from an East European perspective- - Why is it called Magical Realism- I’m thinking – in these weird places, including my own, realism does not seem real at all- It is strange, it produces monsters and unreal situations in the real world- Reality in these realms simply needs a Master like Marques to depict it, for it brings out dictators who act like Evil Spirits in the fairy talesLet me give you just one example from “real life”:When Ceausescu- The Patriarch of Romania, was going to see the harvesting of crops, he would go on a chopper. The idea was to show The Great Beloved Leader the achievements of the people. Because of The Inspired Leadership, the working classes had exceptional results. Or that was what the propaganda would have you believe. In other words, Ceausescu was supposed to fly over fields where all the corn, sunflower had been collected, ahead of time, due to the Wise Strategy of the Party, Lead by the Beloved Son of the nation.Well, it was not like that.In order to make the Goddamn dictator see a harvested land, they just Buried the crops underneathThe people were hungryThe grains destroyedJust for stupid, criminal game of Make Believe.And that is not a reality That Makes Any Sense. That is just a nightmare.The reality of Marquez is “more real”…makes way more sense, with all its exaggerations and weird cows in the presidential hallways than the one I witnessed firsthand, and still fucks up with my brain…as you can read here.The jokes tell you more about what was going on, than the “official shity’records and documents- There are a lot of animals in all the wrong places- balconies, vestibules, - The presidential bedroom- this last one may be just my imagination- There is a lot of shit, poo in the textAnd I am afraid that not only have we lived through that, but even today we pay the price of having a Patriarch just like the one that Marques partly invented and for many aspects just took from his friends Castro and the like.That is one thing that I hate about Marquez- his camaraderie with killers. Not just serial, but mass murderers.It is a love and hate relationship, and I dig that Marquez needed to know about the monsters first hand, before plunging in a mesmerizing us with their world.Game of Thrones, about which I know nothing except the huge box office success and the mania it has created, seems like children’s play if we compare with the game of The Throne of The Patriarch that we get to know in the novel.However, my satisfaction in reading The Autumn of The Patriarch has been severely impaired by the experience I had to live through. It is like being through a torture chamber and then reading about it, albeit in a different language, with another setting.


خريف البطريرك في السابع عشر من أبريل رحل ماركيز، صاحب (مئة عام من العزلة)، ثيربانتس الجديد، الكولومبي الذي حصد نوبل بكتابين أساسيين هما حكاية ماكوندو المذهلة – مئة عام من العزلة – وهذه الرواية التي نشرها قبل نوبل بسبع سنوات. كنت قد أحببت عوالم ماركيز رغم أنني ولجتها من ترجمة رديئة لمئة عام من العزلة – فلذا أنوي إعادة قراءتها بترجمة صالح علماني خلال هذا العام الماركيزي -، ولكن (الحب في زمن الكوليرا) و(قصة موت معلن) جعلت ماركيز من كتابي المفضلين، وجعلت بقية كتبه على قائمة قراءاتي الفلكية الطول. وكتأبين ها أنا اقرأ كتب ماركيز المنتظرة وسيرته التي كتبها جيرالد مارتن، أنثر كلمات ماركيز على عامي هذا، لأجعله عابقاً بالسحر الذي كان ينسل من نصوصه. في أدب أمريكا اللاتينية يوجد فرع أدبي خاص، اسمه رواية الدكتاتور، وهي الروايات التي كتبت لتحلل شخصية ديكتاتور ما، متخيل طبعاً، ولكنه مستوحى من دكتاتوريي أمريكا اللاتينية الكثر – الرواية العربية يجب أن تستخدم هذا الفرع، لا أذكر رواية عربية أضعها تحت هذا النوع ما خلا رواية (عالم صدام حسين) -. كتب رواية الدكتاتور عمالقة أمريكا اللاتينية، من ميغيل أنخيل استورياس في روايته (السيد الرئيس) – والتي كتب ماركيز روايته هذه مدفوعاً بتحديها والتفوق عليها -، إلى ماريو فارغاس يوسا في تحفته (حفلة التيس) – وهي برأيي أبرز روايات هذا النوع وأعظمها -، وأجوستو روا باستوس في روايته (أنا، الأعلى)، وأيليخو كاربنتيير وعدد آخر من الروائيين. يعرض لنا ماركيز في روايته هذه التي أقدر أنها أنهكت بأسلوبها ولغتها – التي أبدع محمد اليوسفي في ترجمتها – قراء ماركيز، وربما تراجع الكثيرون عن قراءتها مع الصفحات الأولى – فعلت أنا ذلك مرة -، فالكتاب مكتوب بلغة شاعرية تبدو وكأنها لا تتناسب مع الموضوع المتجهم، ولكن هذا هو ما أراده ماركيز، جمع المتناقضات في هذه الرواية، فموضوعة الرواية الأساس ليست سطوة الديكتاتور ولا جرائمه – رغم أن الكتاب يغص بها -، وإنما هي عزلة الديكتاتور، إلى درجة أن صديق ماركيز عمر توريخوس ديكتاتور باناما قال عندما قرأها "إنها حقيقية، كلنا هكذا". الرواية مكتوبة بأسلوب ماركيز الغرائبي، والضمير يتغير أحياناً وسط السرد، والحدث الذي تعود له الرواية بطريقة غريبة هو اكتشاف جثة الديكتاتور وقد أكلتها العقبان، ولكننا مع القراءة لا نغدو متأكدين من موته، بل يبدو الديكتاتور خالداً، ففي كل مرة نظن أنه مات أو قتل يظهر من جديد، وكأنها إشارة إلى أن وراء كل ديكتاتور، ديكتاتور جديد. ترعبنا جرائم الديكتاتور، وما يرتكبه نظامه من قتل وتنكيل، ويمر بنا رجاله الذين يقضي عليهم عندما تنتهي الحاجة لهم ويتلطخون كثيراً، وتمر بنا النساء اللواتي يحضرن في حياته، من أمه التي حاول أن يجعلها قديسة بعد موتها، إلى الراهبة التي اختطفها وجعلها امرأته، وحتى الطالبة الصغيرة التي أخذها إلى سريره. إنه الديكتاتور ذو اليدين الناعمتين كيدي امرأة – إشارة إلى ستالين -، ببزته ومعاركه ووحدته الخانقة، التي تخنقنا نحن كقراء، حيث لا نجد في الرواية ذلك التواصل الإنساني الذي يعكسه حوار ما، أي حوار ولو كان تافهاً. رواية عظيمة، كانت عمل ماركيز الكبير التالي بعد (مئة عام من العزلة)، وقد أكدت مكانته وموهبته.

Czarny Pies

Je donne ce livre cinq étoiles, faute de pouvoir lui donner cinq étrons.The Autumn of the Patriarch is one of two novels (the other being the General in is Labyrinth) that Marquez wrote about autocrats. I like neither. If Marquez in any way understands how dictators acquire and maintain power, hecertainly conceals it well from his readers.Marquez's dictator is tough, sadistic and immoral. He loves sex, becomes paranoid with age and predictably dies. However, Marquez ignores that talent, skill and cunning are required to achieve power. The worst dictators were capable of inspiring loyalty and motivating their followers. What on the earth is the point of a novel about a dictator if no explanation is given for the man's success. The press will tell us about the bad qualities but the novelist needs to show us the complete man.I am rather confused. Marquez was on intimate terms with jolly Fidel Castro so he actually one knew one dictator. The Patriarch in the novel bears very little resemblance to Castro so I do not know who the character is modelled on. He reminds me rather of General Tapioca the dictator of the fictitious country of San Theodoros who appears in Tintin and the Picaros. Read the TinTin comic and avoid this book.

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