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Cedric Denaux's "snails and violet flowers"
Cedric Denaux's "snails and violet flowers"
Stéphane Davet

SAINT-PAUL-TROIS-CHATEAUX - Three steps in from the side of the path are enough for Cédric Denaux to identify a veritable pantry. Where we only see a field of flowers and weeds exploding in springtime chaos, this botanist-cum-cook spots the pointed flower of the buckhorn plantain, the bubble-shaped one belonging to the bladder campion, a tuft of goosefoot with the looks of spinach or a specimen of pellitory growing between stones.

Tearing a few leaves, he crumples them to smell them better, before making us taste this savory chlorophyll.

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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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