{"id":119219,"date":"2017-12-21T13:00:01","date_gmt":"2017-12-21T18:00:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=119219"},"modified":"2017-12-20T18:29:06","modified_gmt":"2017-12-20T23:29:06","slug":"the-new-archive-of-gabriel-garcia-marquez","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/12\/21\/the-new-archive-of-gabriel-garcia-marquez\/","title":{"rendered":"The New Archive of Gabriel Garc\u00eda M\u00e1rquez"},"content":{"rendered":"<p><em><span class=\"s1\">When\u00a0Gabriel Garc\u00eda M\u00e1rquez died, in 2014, he left behind, among other legacies, an astoundingly detailed record of his life\u2014some 27,500 images\u2019 worth of detail, in fact. That collection\u2014culled from his correspondence, his\u00a0<span class=\"s2\">twenty-two<\/span><span class=\"s3\">\u00a0personal scrapbooks and notebooks, his\u00a0<\/span>photographs,<\/span><span class=\"s2\">\u00a0<\/span><span class=\"s4\">and material from both his published and unpublished works\u2014was acquired by the Harry Ransom Center at the University of Texas at Austin in 2014,\u00a0and\u00a0became digitally available to the public this month. T<\/span><\/em><em><span class=\"s4\">he Ransom archive gives us\u00a0the author in\u00a0full and scattered manuscript: <a href=\"https:\/\/hrc.contentdm.oclc.org\/digital\/collection\/p15878coll51\/id\/39528\/rec\/56\"><span class=\"s1\">yellowed pages of Colombian passports; first and second and third drafts of his Nobel Prize speech, historical dates and ranges penciled in the margin;<\/span><\/a><a href=\"https:\/\/hrc.contentdm.oclc.org\/digital\/collection\/p15878coll51\/id\/27598\/rec\/1\"><span class=\"s1\"> candid snapshots of him fondling a statue with Pablo Neruda in Normandy\u00a0<\/span><\/a><a href=\"https:\/\/hrc.contentdm.oclc.org\/digital\/collection\/p15878coll51\/id\/29303\/rec\/4\" target=\"_blank\"><span class=\"s1\">or side-hugging a mirthful Fidel Castro in Havana<\/span><\/a>. The images, in their multitudes,\u00a0compose not so much a story as an entire life, refracted through film and paper. A small selection appears below:<\/span><\/em><\/p>\n<div id=\"attachment_119226\" style=\"width: 683px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119226\" class=\"size-large wp-image-119226\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi-673x1024.jpg\" alt=\"\" width=\"673\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi-673x1024.jpg 673w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi-197x300.jpg 197w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi-768x1168.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi.jpg 986w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119226\" class=\"wp-caption-text\">Unidentified photographer, Gabriel Garc\u00eda M\u00e1rquez with Emma Castro, 1957. Courtesy Harry Ransom Center.<\/p><\/div>\n<p><!--more--><\/p>\n<div style=\"width: 1104px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-119223 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi.jpg\" width=\"1094\" height=\"1500\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi.jpg 1094w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi-219x300.jpg 219w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi-768x1053.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_3_010_300dpi-747x1024.jpg 747w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p class=\"wp-caption-text\">Unidentified photographer, Gabriel Garc\u00eda M\u00e1rquez\u2019s office, undated. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119224\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119224\" class=\"wp-image-119224 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi.jpg\" width=\"1500\" height=\"860\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi.jpg 1500w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi-300x172.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi-768x440.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_10a_011_300dpi-1024x587.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119224\" class=\"wp-caption-text\">A scrapbook containing interviews, stories, articles and excerpts by and about Gabriel Garc\u00eda M\u00e1rquez. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119227\" style=\"width: 3690px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119227\" class=\"wp-image-119227 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi.jpg\" width=\"3680\" height=\"2456\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi.jpg 3680w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi-768x513.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_scrapbook_osb_12a_341_300dpi-1024x683.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119227\" class=\"wp-caption-text\">Scrapbook containing interviews, stories, articles, and excerpts by and about Gabriel Garc\u00eda M\u00e1rquez. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119225\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119225\" class=\"wp-image-119225 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi.jpg\" width=\"1500\" height=\"1145\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi.jpg 1500w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi-300x229.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi-768x586.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_010_300dpi-1024x782.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119225\" class=\"wp-caption-text\">Unidentified photographer, Gabriel Garc\u00eda M\u00e1rquez with Fidel Castro, undated. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119228\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119228\" class=\"wp-image-119228 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi.jpg\" width=\"1500\" height=\"1097\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi.jpg 1500w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi-300x219.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi-768x562.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_40_4_002_300dpi-1024x749.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119228\" class=\"wp-caption-text\">Unidentified photographer, Gabriel Garc\u00eda M\u00e1rquez in Aracataca, March 1966. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119230\" style=\"width: 1140px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119230\" class=\"wp-image-119230 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi.jpg\" width=\"1130\" height=\"1500\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi.jpg 1130w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi-226x300.jpg 226w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi-768x1019.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_50_1_006_300dpi-771x1024.jpg 771w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119230\" class=\"wp-caption-text\">Unidentified photographer, Gabriel Garc\u00eda M\u00e1rquez kissing his wife, Mercedes Barcha, during a visit to Sweden for the Nobel Prize ceremony, 1982. Courtesy Harry Ransom Center.<\/p><\/div>\n<div id=\"attachment_119229\" style=\"width: 2679px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-119229\" class=\"wp-image-119229 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi.jpg\" width=\"2669\" height=\"3424\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi.jpg 2669w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi-234x300.jpg 234w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi-768x985.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/mss_garciamarquezg_7_5_081_300dpi-798x1024.jpg 798w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-119229\" class=\"wp-caption-text\">Gabriel Garc\u00eda M\u00e1rquez\u2019s revised typescript of <em>Chronicle of a Death Foretold<\/em>, 1980. Courtesy Harry Ransom Center.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>When\u00a0Gabriel Garc\u00eda M\u00e1rquez died, in 2014, he left behind, among other legacies, an astoundingly detailed record of his life\u2014some 27,500 images\u2019 worth of detail, in fact. That collection\u2014culled from his correspondence, his\u00a0twenty-two\u00a0personal scrapbooks and notebooks, his\u00a0photographs,\u00a0and material from both his published and unpublished works\u2014was acquired by the Harry Ransom Center at the University of Texas [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[32146,32148,567,3071,2100,32145,32149,4279,2161,32147],"class_list":["post-119219","post","type-post","status-publish","format-standard","hentry","category-look","tag-chronicle-of-a-death-foretold","tag-emma-castro","tag-fidel-castro","tag-gabriel-garcia-marquez","tag-harry-ransom-center","tag-living-to-tell-the-tale","tag-mercedes-barcha","tag-nobel-prize","tag-pablo-neruda","tag-university-of-texas-at-austin"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The New Archive of Gabriel Garc\u00eda M\u00e1rquez by The Paris Review<\/title>\n<meta name=\"description\" content=\"M\u00e1rquez\u2019s archive, which comprises some 27,500 images of his work, correspondences, and photographs, was made digitally available this month.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/12\/21\/the-new-archive-of-gabriel-garcia-marquez\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The New Archive of Gabriel Garc\u00eda M\u00e1rquez by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"December 21, 2017 \u2013 When\u00a0Gabriel Garc\u00eda M\u00e1rquez died, in 2014, he left behind, among other legacies, an astoundingly detailed record of his life\u2014some 27,500 images\u2019 worth of\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/12\/21\/the-new-archive-of-gabriel-garcia-marquez\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-12-21T18:00:01+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/12\/ph_garciamarquezg_38_7_011_300dpi.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"986\" \/>\n\t<meta property=\"og:image:height\" content=\"1500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" 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