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Gabriel García Márquez’s life in 100 pictures

By Ryan Blake

In August 2016, I joined the Ransom Center as a graduate student assistant from The University of Texas at Austin’s School of Information to digitize the Gabriel García Márquez papers. The project’s title, “Sharing ‘Gabo’ with the World,” reflects the intentions of the Council on Library and Information Resources’ grant: to make accessible digitized content from García Márquez’s voluminous collection of manuscripts, notebooks, scrapbooks, and photographs. My first weeks entailed digitizing pages of García Márquez’s manuscripts.

 

Several months later my supervisor, Jullianne Ballou, asked me to select about 100 photographs for digitization from among the thousands that arrived with the collection. It wasn’t until I was facing a collection of 24 boxes containing dozens of folders with titles like “Gabo con Presidentes,” “Nobel Prize,” and “Gabo con Fidel” that the difficulty of selecting so few photos to represent such a remarkable life set in.

 

The author and his wife selecting the artwork for the cover of “Crónica de una muerte anunciada;” photographer and date unknown.
The author and his wife selecting the artwork for the cover of “Crónica de una muerte anunciada;” photographer and date unknown.

Should I prioritize García Márquez’s personal and professional friendships, so numerous and long-standing that a full seven albums carried the title “Amigos”? How can I do justice to his 56-year marriage to his beloved wife Mercedes, described by biographer Gerald Martin as “indispensable to a man who considered himself absolutely self reliant,” and their two children? Certainly the decades-long friendship with Fidel Castro could supply more than 100 worthy photos: images of the two men depict the reliably stern Castro letting his guard down just about any time Gabo is in the photo. Gabo’s association with Bill Clinton in the mid-1990s was also a rich source of noteworthy photos. Then there’s the Nobel Prize, of course, and the numerous photos of jubilant Colombian friends and family who accompanied him on the trip to Stockholm, but other awards like France’s Legion d’Honneur and the Orden Mexicana del Águila Azteca also demanded consideration. How many of the photos should represent his novels, and how many his journalism or his screenwriting?

 

All of which is to say that it was even more difficult to be discriminating with the photos I selected. So many photos seemed significant, and each folder seemed to present a new side or aspect of Gabo, the omission of which would feel like an injustice. I felt a real responsibility to assemble an accurate visual representation of García Márquez’s remarkable life each time I flagged a photograph. This sense of obligation to the collection’s creator was only heightened by virtue of working with the materials of the illustrious “Gabo,” one of the most acclaimed and significant writers of the twentieth century.

 

Ultimately, revisiting a fundamental archival principle clarified my role: not to compile a comprehensive summary of Gabo’s impossibly rich 87 years, but simply to provide a glimpse into a more complete collection. This concise yet (if I did my job right) accurate overview of the contents would compel the archive’s audience to explore further—either by coming to the archive or by working remotely with a local researcher at the Ransom Center. Generally speaking, as archivists our role is chiefly to make a collection accessible. This means providing an overview of the contents—and letting the researchers and scholars take it from there. In my short archival career, I’ve found this to be an ever present tension: the push and pull between wanting to share the interesting and personally compelling finds from within a collection and remaining faithful to your role as an archivist.

 

In Havana, Cuba, with Gerald Martin (right), his English language biographer, in Havana; photographer and date unknown.
In Havana, Cuba, with Gerald Martin (right), his English language biographer, in Havana; photographer and date unknown.

With Gerald Martin’s meticulously researched biography Gabriel García Márquez: A Life to help fill in gaps and provide names, places, dates, and context to the collection, I gradually grew more confident that I could both remain faithful to my archival mandate and provide an accurate, if somewhat limited, portrait of Gabriel García Márquez’s irresistible personality. Before I had seen several distinct aspects of a life that were difficult to reconcile, but as I worked I began to see that literature was the thread that tied these aspects together.

 

The famous friendships with Clinton and Castro, for example, were founded on a mutual love of literature. Gerald Martin writes of the first meeting between Clinton, García Márquez, and Mexican writer Carlos Fuentes, in which the two writers were astonished by the new president’s parrying their attempts to raise the Cuba embargo by steering the conversation to William Faulkner and citing long passages from memory. Martin also recounts that García Márquez insisted his conversations with Fidel were about literature. Though his personal politics were likely more closely aligned with Castro than with Clinton, finding common ground in appreciation of literature underpinned the improbable but genuine dual friendships with the Cuban revolutionary and the American centrist.

Gabriel García Márquez with his wife and sons; date unknown.
Gabriel García Márquez with Mercedes Barcha and their children, Rodrigo and Gonzalo in 1980.
With Mercedes on the island of Crete; undated.
A picture of the author taken by his son Rodrigo García Barcha; date unknown.
With family friend Soledad Mendoza, sister of writer Plinio Mendoza, in Paris; photographer and date unknown.
García Márquez hugs friend and interpreter Patricia Cepeda, with Bill and Hillary Clinton during their first meeting at William Styron's house on Martha's Vineyard in 1995.
With Bill Clinton and Patricia Cepeda, friend and translator; photographer and date unknown.
Gabriel García Márquez and his wife, Mercedes, in Sweden for the Nobel prize ceremony, 1982.
Posing with wife Mercedes Barcha and son Gonzalo García Barcha at the 1982 Nobel Prize Banquet.
Inspecting his Légion d’honneur medal at the ceremony in 1980.
With wife Mercedes (right) and Spanish architect Alfons Milà and his wife Cecilia Santodomingo in Barcelona; photographer and date unknown.
With Jorge Masetti (left), an Argentinian guerrilla and journalist, and founder and director of news agency Prensa Latina, of which García Márquez was a member; photographer and date unknown.
With Rafael Escalona (left), a Colombian composer; photographer and date unknown.
García Márquez at a piano or dancing is a frequent motif in the collection; photographer and date unknown.
García Márquez in Puerto Montt, Chile, surrounded by schoolchildren who ran up to him when their teacher spotted him on the beach.
With Cuban leader Fidel Castro during a trip to Havana; photographer and date unknown.
With Mexican businessman Carlos Slim at the Foro Iberamericano, Museo de Arte Popular, 2006.
Meeting with Subcommandante Marcos, leader and spokesperson for the Zapatista Army of National Liberation, for an interview for Mexican magazine Cambio in 2001.
Gabriel García Márquez with Shakira at his house in Mexico City, Casa Fuego. The two had a long and close friendship.

 

Mutual admiration for the power of words also led to García Márquez’s meeting and interview with Subcomandante Marcos and the Zapatista movement (first question: “Do you still have time to read in the middle of all this mess?”), and his socializing with men of unimaginable wealth like Mexican billionaire Carlos Slim and Colombian businessman Julio Mario Santo Domingo. Gabo hoped that his most powerful and influential friends might bring attention and funding to groups and causes he’d become familiar with in his work as a journalist and in which he believed deeply.

 

There are the obvious ties to literature in the pictures of Gabo with colleagues from Prensa Latina, the Cuban news agency he helped launch; they are less evident in numerous photos with longtime friend Shakira. But the Colombian city of Barranquilla played an important role in both of their lives, as the city that launched both her music career and the mid-twentieth century circle of writers, journalists, and philosophers in which Gabo played a pivotal role.

 

So while Gabo was a man of many sides, he was above all a writer, and literature was the guiding force in his life. That seems an obvious conclusion to reach, perhaps, but while his celebrated writing career enabled his impossibly rich life, I also got the sense that he would have been essentially the same person without the presidentes, the personal audiences with the Castro brothers, the stately and elegant awards ceremonies, and the wealthy and influential friends.

 

The digitized archive of Gabriel García Márquez, including these photographs, will be available for research online in December 2017.

Related content

Award supports digitization of more than 24,000 images from the Gabriel García Márquez archive

Preserving Gabriel García Márquez’s life and legacy

 

Comments

Don Klein (bibliographer GGM)
Reply

I hope that your images with captions “date unknown” will be rectified as I assume you do have the resources to obtain fairly accurate dates. Dates often make an image succeed.

Suzanne Krause
Reply

Dear Mr. Klein,

The author thanks you for your comment and has provided this reply:

“The archivist’s role is primarily to make collections accessible. We arrange, describe, process, and digitize collections to make them usable for historians and researchers. Deciding which materials are significant is more the role of those historians and researchers.

The primary task with the project to digitize 100 photographs is not about choosing the “best” or most important ones, but about giving a glimpse of the photograph collection as a whole so that researchers can then make the decision whether that collection deserves their attention and time.

As this project is about the collection of an author, the primary focus of the project is not the photographs but the literary manuscripts; thus we’re digitizing only a selection of photographs. The generous CLIR grant is for a designated amount of money and time, so any extra time spent hunting down a date means fewer of the manuscript pages would get digitized. If we have a definite date recorded by Gabriel García Márquez in the albums or if it is widely available, such as the Subcomanadante Marcos interview, then we use it. Otherwise, we leave it undated. We’d be delighted if historians and scholars with deep knowledge of the author and his life and work could supplement some of those dates for us, but the scope of this project does not allow us to do so. Dates and other details about the images may be added to later by other more specialized departments in the repository.”

Thank you,

Suzanne Krause

Hernando Aldana
Reply

Yes, I want to to see all the photographs, and thanks a lot.

Hernando Aldana
Reply

Thanks a lot

Manuel "Lucho" Berggrun
Reply

I agree with both of you my dear Don and Suzanne.

Manuel Lucho Berggrun
Reply

I agree with Don Klein and also with the author , but I also think that is important to describe the circumstances and the context of the picture

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