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In 1990, fearing extradition to the United States, Pablo Escobar – head of the Medellín drug cartel – kidnapped ten notable Colombians to use as bargaining chips. With the eye of a poet, García Márquez describes the survivors’ perilous ordeal and the bizarre drama of the negotiations for their release. He also depicts the keening ache of Colombia after nearly forty years of rebel uprisings, right-wing death squads, currency collapse and narco-democracy. With cinematic intensity, breathtaking language and journalistic rigor, García Márquez evokes the sickness that inflicts his beloved country and how it penetrates every strata of society, from the lowliest peasant to the President himself.
Brilliant...Deeply affecting...a story rich in characters who are both heroic and contradictory.
More Reviews and RecommendationsA chief practitioner of the "magic-realist" style, Gabriel García Márquez's influence and importance lie in his crucial role of bringing Latin-American fiction to wider audiences while pioneering it at the same time. The Colombian-born Nobel winner tells fantastical tales of romance and heroism against an historic Latin American backdrop, always infusing believability by giving his writing a journalistic cast.
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November 29, 2006: I read half of it bc I couldnt take anymore of it...it's an interesting story, but repetitive and way too long.
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February 02, 2005: News of a Kidnapping is a true story about the ?biblical holocaust? that the South American country of Colombia has endured for the past thirty years. This ?biblical holocaust? that I refer to engulfed, and perhaps still engulfs, leftist insurgencies, right-wing death squads, currency collapses, cholera epidemics, and drug trafficking. However, although the novel brilliantly encapsulates all five of these aspects, it focuses primarily on the latter and the abductions that went along with it. Abduction was and perhaps still is a method used by Colombian drug traffickers as means of gaining political power within Colombia and as bargaining chips against extradition to the United States. This novel centers on the abduction of Maruja Villamizar and Beatriz Guerrero, the last two abductions made by the Medell?n drug cartel in 1990. By this time, eight men and women had been abducted and a nationwide manhunt had been mounted for the head of the Medell?n drug cartel, Pablo Escobar. Throughout the span of the novel, Maruja and Beatriz, among other numerous hostages, were forced to endure and helplessly fight to overcome cruel conditions and harsh situations; that is, from living in a room no bigger than a small bathroom with six other people to eating food off of the ground. For the whole story, the families and the Colombian national government desperately attempt to find ways to help the hostages, but to no avail. It is not until two of the ten men and women abducted during this period are killed and ceaseless efforts by the families and government to come to an agreement with Pablo Escobar that Maruja and Beatriz are finally released. The novel ends as this period in Colombian history ended; Pablo Escobar surrendered to the Colombian government under the agreement of non-extradition and safety in a well secured prison. This novel is a blend of the magical-realism and non-fiction. While magical-realism describes situations that are real but that one can hardly believe exists, non-fiction is detailed and describes this as they really are. Garc?a Marquez combines the two genres brilliantly by luring one into a world that one finds incredulous but that ceaselessly blows one away with its cold, harsh reality. Non-fiction had been me least favorite genre but News of a Kidnapping has opened my eyes.
Name:
Gabriel García Márquez
Also Known As:
Gabriel José García Márquez
Current Home:
Mexico City, Mexico
Date of Birth:
March 06, 1928
Place of Birth:
Aracataca, Colombia
Education:
Universidad Nacional de Colombia, 1947-48, and Universidad de Cartagena, 1948-49
Awards:
Nobel Prize in Literature, 1982
Gabriel García Márquez is the product of his family and his nation. Born in the small coastal town of Aracataca in northern Colombia, he was raised by his maternal grandparents. As a child, he was mesmerized by stories spun by his grandmother and her sisters -- a rich gumbo of superstitions, folk tales, and ghost stories that fired his youthful imagination. And from his grandfather, a colonel in Colombia's devastating Civil War, he learned about his country's political struggles. This potent mix of Liberal politics, family lore, and regional mythology formed the framework for his magical realist novels.
When his grandfather died, García Márquez was sent to Sucre to live (for the first time) with his parents. He attended university in Bogotá, where he studied law in accordance with his parents' wishes. It was here that he first read The Metamorphosis by Franz Kafka and discovered a literature he understood intuitively -- one with nontraditional plots and structures, just like the stories he had known all his life. His studies were interrupted when the university was closed, and he moved back north, intending to pursue both writing and law; but before long, he quit school to pursue a career in journalism.
In 1954 his newspaper sent García Márquez on assignment to Italy, marking the start of a lifelong self-imposed exile from the horrors of Colombian politics that took him to Barcelona, Paris, New York, and Mexico. Influenced by American novelist William Faulkner, creator of the fictionalized Yoknapatawpha County, and by the powerful intergenerational tragedies of the Greek dramatist Sophocles, García Márquez began writing fiction, honing a signature blend of fantasy and reality that culminated in the 1967 masterpiece One Hundred Years of Solitude. This sweeping epic became an instant classic and set the stage for more bestselling novels, including Love in the Time of Cholera, Love and Other Demons, and Memories of My Melancholy Whores. In addition, he has completed the first volume of a shelf-bending memoir, and his journalism and nonfiction essays have been collected into several anthologies.In 1982, García Márquez was awarded the Nobel Prize for Literature. In his acceptance speech, he called for a "sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth." Few writers have pursued that utopia with more passion and vigor than this towering 20th-century novelist.
Gabriel José García Márquez' affectionate nickname is Gabo.
García Márquez' first two novellas were completed long before their actual release dates, but might not have been published if it weren't for his friends, who found the manuscripts in a desk drawer and a suitcase, and sent them in for publication.
In 1990, fearing extradition to the United States, Pablo Escobar – head of the Medellín drug cartel – kidnapped ten notable Colombians to use as bargaining chips. With the eye of a poet, García Márquez describes the survivors’ perilous ordeal and the bizarre drama of the negotiations for their release. He also depicts the keening ache of Colombia after nearly forty years of rebel uprisings, right-wing death squads, currency collapse and narco-democracy. With cinematic intensity, breathtaking language and journalistic rigor, García Márquez evokes the sickness that inflicts his beloved country and how it penetrates every strata of society, from the lowliest peasant to the President himself.
Brilliant...Deeply affecting...a story rich in characters who are both heroic and contradictory.
Possesses all the drama and emotional resonance of Garcia Marquez's most powerful ficiton. -- New York Times
One of the best books of the year.
Before he earned his international reputation as the master of magic realism and before he was crowned a Nobel Laureate, Gabriel García Márquez was a foreign correspondent for the Colombian newspaper El Espectador. After his good friend Maruja Pachon de Villamizar was kidnapped by drug kingpin Pablo Escobar in 1990, García Márquez decided to return to his roots and write a straight book of journalism about the eight-month drama that captivated Colombia.
At the time, Escobar and his associates were on the verge of surrendering, but refused to turn themselves in unless the government guaranteed that they would not be extradited to the United States. To increase their bargaining position "The Extraditables" abducted 10 prominent journalists, several of whom were related to government officials, including the wife and a daughter of two former presidents. Maruja was the head of the Colombian agency for film promotion, but more importantly to Escobar, she was the wife of Alberto Villamizar, a prominent politician and advisor to President Cesar Gaviria.
García Márquez's narrative bounces back and forth between the cramped cells of the prisoners and the worried families as they negotiate with Escobar. Each night the television was filled with scenes of friends and family of the victims sending personal messages to the captives. The victims gathered around the TV with their captors and sometimes wagered on which celebrity would appear to beg for their release. This surreal drama would seem like perfect raw material for García Márquez's fantastical talent, yet News of a Kidnapping is surprisingly flat and unsuspenseful. In Colombia, the details of the negotiations and the day-to-day survival of the prisoners played well, but in translation the recounting of this strange incident reads like a dated, overlong magazine article. It lacks suspense because García Márquez reveals in the introduction which two of the hostages were killed, which were freed and how and why Escobar surrendered. With all the drama removed, the only motivation to read on is for the few surreal, emotional tidbits sprinkled throughout. Those looking for a grand parable or compelling historical account will be disappointed by what feels like a blown opportunity. -- Salon
In October 1993, Mauja Pachn and Beatriz Villamizar, the wife and sister of a prominent Colombian politician, were taken hostage by Pablo Escobar, the billionaire don of the Medelln cocaine cartel. The story of their captivity, and of the negotiations that led to their release, is also the story of a legal crisis that turned into a terrorist civil war and, in the last decade, left thousands dead, from the children of Medelln's slums (where people prayed to effigies of Escobar) to soccer stars and presidential candidates. The heart of the struggle, played out daily in Colombia's Supreme Court and the National Assembly, in newspapers, on TV and in the streets: terms of surrender for Escobar and his henchmen, "The Extraditables," whose motto was "Better a grave in Colombia than a cell in the United States." This struggle has been reported to North American readers, notably by Alma Guillermoprieto in her recent collection of New Yorker correspondence, "The Heart That Bleeds", but never with such tragic elegance as here, for Nobel laureate Marquez knows his subjects as friends or acquaintances and at the same time understands them as types, symbols of a national destiny. Their private premonitions, foibles and heroism fascinate him. What emerges from these pages is not just a chronology of the harrowing events of 1993-94, but also a detailed portrait of Colombian society today, in particular of the moneyed intelligentsia (known in Colombia as "the political class") for whom government and the media are still very much a family affair. Nevertheless, Marquez's calm sympathy reaches beyond these leading families taken prisoner by the war on drugs; he takes a human interest in the foot-soldiers who face certain death in Escobar's service and even in Escobar himself, a doomed anti-hero whose "most unsettling and dangerous aspect... was his total inability to distinguish between good and evil." Perhaps the most remarkable thing about this book is its insistence on individual choice between good and evil, pluck and cowardice, at a moment when a lesser writer might see only the drama of a gripping true-crime story, with villains and victims foreordained.
Garca Marquez, Latin America's Nobel prize-winning novelist, turns his hand for the first time to nonfiction to explain, through one individual's experience, the widespread kidnapping in Colombia. Although focusing on Maruja Pachn's six months in captivity and her prominent husband's efforts to obtain her release, the book is really about the 1990 abduction of ten individuals by drug traffickers hoping to prevent their extradition to the United States. As he does so memorably in his fiction, the author captures the political intricacies and strange, deep involvement of drug dealers in Colombian life, turning what as easily could have been an imagined story into a fascinating exploration of contemporary culture, politics, and drug lords. Highly recommended. Roderic A. Camp, Latin American Ctr., Tulane Univ., New Orleans
In the same straightforward tone with which he relates the fabulous events of his fiction, Colombia's premier novelist presents the chillingly extraordinary events surrounding the 1992 abduction of ten prominent people by the Medellín drug cartel.
For anyone who has doubts about where the real war on drugs is taking place, this is a vivid testimony to what García Márquez calls "the biblical holocaust that has been consuming Colombia for more than twenty years." It is a tale featuring real-life heroes, almost comically absurd events, endless terror, and a satisfyingly dramatic ending. Controlling the events is a man we never meet until the very endthe all-powerful and cunningly elusive Pablo Escobar, the head of the Medellín cartel. Fearing extradition to the US and death at the hands of his competitors more than he fears the Colombian government, he takes the hostages (primarily journalists) as pawns as he negotiates his surrender to the security of a specially prepared Colombian prison. Among the extraordinary men negotiating for the hostages' freedom are Alberto Villamizar, a politician who was himself once an assassination target of Escobar's and whose wife, Maruja, and sister, Beatriz, are both hostages; and the elderly Father García Herreros, known for his daily television homilies and celebrity-studded fundraisers. But at the core of the narrative are the daily terrors and tribulations of the hostages, scattered in groups of two and three in different hiding places under the constant watch of Escobar's young, nihilistic soldiers. Newspaper editor Pacho Santos is chained to his bed at night. Maruja, Beatriz, and the doomed Marina Montoya must share a tiny, dark, airless room with four guards, their trips to the bathroom strictly regulated, their only distraction the television, through which Maruja's daughter, with her own TV show, sends coded messages of support and hope.
García Márquez's consummate rendering of this hostage-taking looms as the symbol of an entire country held hostage to invisible yet violently ever-present drug lords.
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