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

Appu Shaji

It takes me many a re-reads to comprehend Gabo's unusually long sentences, but the fabric of thoughts that he weaves is so exquisite that it is so worth it. I have always pictured him writing these sentences in a jiffy, from start to end, capturing an unique and utterly amazing stream of thought accessible only to him, and concludes by putting his pen down, with a smirk that he shares with his rose flowers, suggesting that he is done with it; whereas now it is left to the readers to take their own time, and let them labour sweetly to ingest them. For example the brilliant closing lines from the brilliant Autumn of the Patriarch ( https://en.wikipedia.org/wiki/The_Aut... ) ".... an old man with no destiny with our never knowing who he was, or what he was like, or even if he was only a figment of the imagination, a comic tyrant who never knew where the reverse side was and where the right of this life which we loved with an insatiable passion that you never dared even to imagine out of the fear of knowing what we knew only too well that it was arduous and ephemeral but there wasn't any other, general, because we knew who we were while he was left never knowing it forever with the soft whistle of his rupture of a dead old man cut off at the roots by the slash of death, flying through the dark sound of the last frozen leaves of his autumn toward the homeland of shadows of the truth of oblivion, clinging to his fear of the rotting cloth of death's hooded cassock and alien to the clamor of the frantic crowds who took to the streets singing hymns of joy at the jubilant news of his death and alien forevermore to the music of liberation and the rockets of jubilation and the bells of glory that announced to the world the good news that the uncountable time of eternity had come to an end."

JS Found

The first and last book about a dictator you will ever need to read. The dictator is a blood thirsty tyrant who brutally kills his enemies but Marquez goes so deep into his own viewpoint and emotional and mental state that the overall effect is one of pity. You feel sorry for this guy even as he rules his country for a very long time and destroys it. But, and here is the important thing, he destroys himself too. His palace could come from a hoarding reality show. It is full of garbage, never cleaned. He sleeps with and rapes so many women that he has thousands of bastards. His mother dies and he grieves for her. This section is a good look at grief. But through it all he is dying. The novel is just as much about the wearing down of the human body and its ill treatment. You will want to exercise regularly after reading it. It has a neat structure that essentially goes backwards in time but within that goes forwards too. The narration is second person from many points of view and slips into first. The book is one long block of text and the sentences are long, but, please don't let that dissuade you. You have to become used to it, but that isn't hard. Once you do, treat every comma as a period, stop reading at the bottom or top of each page, and luxuriate in the gorgeous, awe-inspiring writing. Your rhythm will sinc with the book and you will read the story of a man of power who is demolished by it. I wonder if true dictators have read this book; any young leader who does will have a powerful argument not to be one.


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.


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.

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.

Kevin J. Rogers

Perhaps the single most brilliant novel I've ever read, sweeping, swirling, and wildly original. Gabriel Garcia Marquez has achieved the near-impossible in this book: he has captured the essence of a dictator's soul, and joined it to the soul of the nation he ruled, all the while keeping the story intensely personal, emotional, sympathetic, and moving. His narrative technique is daring, effective, and relentlessly original; a remarkable achievement.

Sanabel Atya

"خريفُ البطريرك،،روايةخطب الديكتاتور الموزونة،،قصيدة لمحمود درويشوكلاهما يخطان السيرة ذاتها!"للوهلة الأولى،وربما تنتهي من الفصل الأول دون أن تفهم شيئاً،أو بمعنى أدق-مش عارف وين راس الرواية و وين رجليها!-وهذا بسبب كيفية صياغة العبارت،في طريقة فريدة من نوعها.حقاً،لحتى هذه اللحظة،أقفُ عاجزة أمام عبقرية هذا الرجل -على الأقل- في كيفية صياغة الجمل،صياغة جمل طويلة جداً،بحيث أنه نادراً ما استخدم الفواصل والنقاط! ربما استخدم نقطة واحدة فقط في فصل كامل.قرأتها بالعربية،،ويقول المُترجم أنه حاول قدر المُستطاع في نقل العبارات كما أرادها أو كتبها صاحبها تماماً.بصراحة،كنتُ مُنسجمة في قرائتها أكثر مما انسجمتُ في قراءة مائة عام من العُزلة!


اذاً سيدي الجنرال ، طاغية مستبد قامع قاتل ، سحقاً ، إنه أنت سيدي الجنرال هذا هو الرمز العالي للطاغية الذي يستلذ بقتل كل كبير وصغير في وطنه في سبيل ارضاء نرجسيته العالية التي تتخطى الغيوم الماطرة بالسموم على اهل بلده و لا ينزل عليهم رحمته الا اذا رضي هو عن ما يرضي ، لكن لكل بداية نهاية وكل طاغية لابد ويجب ان ينكسر مع مرور الزمن ويضمحل فيه المرض و الاستفحال للعلل في داخله نفسياً أكثر منها عضوياَ ، الرمزية التى استخدمها ماركيز هنا حقيقة تدل بشدة على رموز حاكمة لكثير من البلدان منها ما قضى نحبه ومنهم ما زال في خريف العمر يهش ذكرياته بعيدا عن عيونه , واساليب التعذيب و القتل و القمع التي وردت في الرواية واضخه للعيان وتستخدم في أيامنا وستظل للمستقبل القريب عنصرا مجرماً للأفراد . و يظهر لنا ماركيز هنا وحشية النفس الطاغية ومدى طغيانها على شعبها حتى انها زرعت فيهم بشكل لا يوصف ويسمى ب : الإجتياف .اللذة الغارقة للنخاع في الفاسدين لا يمكن ان تنتهي بهم الا الى طريقٍ واحد : الموت بين اعدائك بقسوة و غيظة أسلوب ماركيز مختلف تماماً عن باقي رواياته السابقة وهذا دليل على الخيال الخصب للكاتب حتى لا يحصل الممل المعتاد الناتج من الكُتاب الأخرين الذين " يدّعون الابداع " وحقيقة هذا ابداع كاذب * رواية أخرى تناولت هذا الموضوع بشكل مشبع : حفلة التيس / ماريو باراغاس يوسا * الرواية تجعلك تختلط ما بين أسطرها لكن تحتاج إلى استغراق في نص الرواية و الفصل بين الفقرات ونرى ايضا بشكل مخفي " فكر ماركيز مع الاشتراكية " وتضامنه بشكل كبير مع الطبقة المعدومة من المجتمع المضطهد المكسوح بالظلم و المشبع بالتعذيب


Metto questo libro tra i più belli che abbia letto in assoluto. Lo pongo addirittura al di sopra di quel capolavoro letto e riletto, evocatore di sogni e immagini sublunari che per me è stato Cent'anni di solitudine.

Saverio Mariani

Sì, lo so. Sto parlando di uno dei miei scrittori preferiti. Devo utilizzare bene le parole, come lui fa in modo assolutamente geniale, e devo cercare di far capire al meglio tutto quello che García Márquez esprime attraverso il suo mondo fantastico. Ho letto molti libri di Márquez, negli anni. Già da quando frequentavo il liceo. Mi ricordo che Macondo (la città magica, inventata, tropicale, in cui è ambientato Cent’anni di solitudine) mi aveva così catturato che avrei voluto farci un viaggio. Riuscivo a percepire il profumo naturale della calura, e il silenzio quasi religioso della siesta.Ricordo vividamente che in un altro suo capolavoro assoluto, L’amore ai tempi del colera, Márquez mi ha insegnato ad assaporare l’odore delle mandorle amare, che assomiglia (vedi l’incipit) all’odore degli amori finiti...[Continua a leggere qui: http://lettoritralerighe.weebly.com/2...]


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.


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.


It is hard not to distinguish the writer's infamous tone and subject matter in this sumptuous tale which might be the first time that a character study is so well meshed with the locale of his biography: "The Autumn of the Patriarch" in less than 50 sentences spanning pages and pages and a thick layering of symbols and leit motifs tells the sad story of a mad tyrant ruler who, despite being bathed in power and glory, is nonetheless a HUMAN: he kills but suffers immensely and if the book were a painting (it kind of is: the words span the entire panorama... the Carribbean island is fully described in words which convey both stagnation and movement... fantastic magic and awful reality) it would be an enormous canvas of colors, moods, unbelievable sights and smells; the flow of words, a literal bombardment of them, gives the novel its undeniable charm (hey! the format is difficult... its really more poetry than prose) and robust beauty.


I finally finished it! Wow. This book is complete madness. It starts off with 40-page chapters and zero paragraph breaks, except between chapters, and half-a-page sentences, and by the end, the chapters are longer and the sentences are even longer with many many commas, so that by the end when one gets close to the end there are just no periods anymore. Whew! And you thought the preceding sentence was long. Oh, and the narrator changes a bunch ... and it's cyclical, going back and forth between the present when the general's body is found, and some time in the past when the general is still in power. And many parts are outrageous. Like the part about the kidnapped children. Bottom line: Read this if you're ambitious and able to focus on the words despite the strange structure. I think it's worth it. I can't say it'll be easy though.The New York Times has a good review. Check it out..

Кремена Михайлова

Трудно ми е да си представя, че човек може да напише това... Мога да го повярвам, само като си спомня, че същият човек е написал „Сто години самота”. Но тук задачата му е била сякаш още по-трудна – в сравнение с роящите се поколения в „Сто години самота”, в „Есента на патриарха” има единствен център – диктаторът (обобщаващ образ на латиноамериканския диктатор – защо не на който и да е диктатор). Започва засмукващо и човек трябва да е наясно и да реши иска ли да продължи. (view spoiler)["Малко преди да мръкне, когато бяхме изнесли всички скапани скелети на крави и въведохме малко ред в онази баснословна бъркотия, все още не бяхме успели да направим така, че трупът да прилича на образа от легендата. Вече бяхме го остъргали с инструмента за сваляне на люспите на риба, за да премахнем налепите от морско дъно, изкъпахме го с креолин и каменна сол, за да почистим от разложението язвите по кожата, напудрихме лицето му с нишесте, за да скрием кръпките с кълчища, и парафиновия пълнеж, с който трябваше да възстановим изкълваното му от лешоядите лице, върнахме му жизнения цвят с петна от, руж и дамско червило на устните, но дори стъклените очи, които инкрустирахме в празните очни ями, не успяха да му придадат онзи авторитетен вид, от който се нуждаеше, за да бъде изложен пред очите на тълпите." (hide spoiler)]Завършва пак така и човек може така да се е унесъл и да се изненада, че има край... (view spoiler)["...а той не го разбра, остана си завинаги със свирещата болка на хернията си на стар мъртвец, изтръгнат из корен от удара на смъртта, литнал сред мрачния шумол на последните ледени листа на своята есен към мрачното отечество на пълната забрава, вкопчил се от страх за парцаливия и прогнил плащ на смъртта и чужд на виковете на побеснялата тълпа, която излизаше на улицата и пееше възторжени химни на радостната новина за неговата смърт, и завинаги чужд на музиката за освобождение и ликуващите фойерверки и празничните камбани, които възвестиха на света добрата новина, че неизброимото време на вечността най-после беше завършило." (hide spoiler)]Дали съм свикнала със стила на Маркес, дали тази творба наистина е изумителна – четох я много лесно, а се предполага, че е трудничка - няма пряка реч, няма нови параграфи, няма глави (почти), изреченията са от по няколко страници! Страшно много ми хареса смяната на разказвача насред ”изречението” – някой разказва за диктатора и изведнъж самият той поема разказа за себе си. Някой е подхванал разказването, но когато започне да говори патриархът, вече влизаш неспасяемо в действието. Така хем се постига усещане за градация, засилващи се емоции, хем се внушава абсолютната налудничавост на всичко това - Патриархът е навсякъде, дори и в мислите на хората... ("майко мила, Бендисион Алварадо..." ;) )Не чета типичните книги с ужаси, но тук поглъщах страхотиите без отвращение. Естествено всичко е хиперболизирано, гротескно. И едва ли не читателят може да съжали горкичкия Патриарх... (добре, че имаше три жени в живота му – т.е. важните три, освен хилядите други...) Самото „управление” не е единственият фокус, направена е дисекция и на личността на диктатора – по крайно нестандартен начин обаче... Направо гнусен - безкомпромисен е Маркес!Не знам защо тази книга не е толкова известна като „Сто години самота”. Може би защото не всеки се интересува от политика, от диктатори? (тя не е само за политика...). Независимо от темата, за мен тя е за всеки, който иска да се докосне до пример за литературна мощ. Казват, че книгата е писана в продължение на седем години, но звучи така, сякаш е един спонтанен и безконечен „излив” – т.е. написана като в бълнуване, като в полусън, без планове и редакции, просто излята от свръхчовешкото въображение, от един владетел на словото... Смея да твърдя, че произведението на Маркес е уникално с безкрайната си фантазия и проницателност. С нетрадиционната форма, с безкомпромисната ирония и натурализъм; всичко е в много, в повече, разчепкано до най-малкия детайл, задълбано, повторено, потретено, задъхващо. Наистина дишах на двойни и тройни обороти през цялото време. Бях в двореца на Патриарха при всичките му зверства и копнежи, животински страсти и човешки тръпки, изблици на помрачаващ гняв и моменти на обърканост, прояви на твърдост и признаци на противоречивост, мания за безсмъртие и трескав страх, прозрения и заблуди, самосъжаление и детинска радост... и безкрайна и неизбежна самота. Разбираема е и гледната точка, че диктаторът често е просто едно чучело, че около него и чрез него се върти големият свят и той е удобното оръжие на диктатурата; ролята на международните сили по отношение на „банановите републики” естествено не е пропусната. Чувството накрая – самият Маркес е магически реализъм! Не само произведенията му! Казвам го по-общо, не конкретно за тази книга, защото самият той казва, че в нея едва ли има нещо преувеличено в сравнение с реалната действителност при една диктатура...["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>

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