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EL ESPECTADOR

Colombia: Deforestation And Usurping Indigenous Land Go Together

Ranchers, farmers or plain criminals are pushing their way into and expanding their presence in Colombia's remotest nature reservations.

Members of the Colombian Nukak Maku tribe
Members of the Colombian Nukak Maku tribe
Rodrigo Botero

BOGOTÁ — Neither laws nor state actions have managed to curb the progressive deforestation of Colombia's Amazonian territories, which include the homes of indigenous tribes that have been striving for decades, even centuries, to avoid contact from the outside. The gnawing destruction is threatening designated reservations like the Chiribiquete National Park, and the nearby Nukak Maku and Yaguará II reserves that connect Chiribiquete with the Macarena National Park.

The tribes that live in these protected territories have good reason to fear contacts with the "white man." My friend, the researcher Roberto Franco, has gathered a range of historical documents and interviews with native thinkers to write Cariba Malo, a history of the Yuri — one of the Indigenous Peoples in Voluntary Isolation (PIAV, Pueblos indígenas en aislamiento voluntario), as the situation has been categorized. Their isolation, he writes in the book, "is an act of resistance emerging from the deep conviction that their freedom and independence are more important than the surrounding world of other humans or the caribas (whites)."

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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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