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Hanoi, Vietnam
Hanoi, Vietnam
Gil Eilin Jung

HANOI - We are in Hanoi, sitting in Mrs. Vu’s kitchen. The table is weighed down with exotic delicacies, passion fruit, pineapple, slices of melon, litchis, dragon fruit, kumquats, grapefruit, heart-shaped pieces of watermelon and small, fat bananas. We’ve already made considerable inroads into the spread, as if we hadn’t eaten for days.

Mrs. Vu, whose given name is Viet Nam like the country where she was born in 1944, has a degree in chemistry and speaks fluent German with a Saxon accent. She is one of the Vietnamese school children to have been sent to the German Democratic Republic (East Germany) – to Moritzburg, near Dresden – in the 1950s to be educated in a fellow socialist country.

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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