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An ancient bell in Durbar Square, Patan, after the deadly earthquake that struck Nepal on April 25, 2015.
An ancient bell in Durbar Square, Patan, after the deadly earthquake that struck Nepal on April 25, 2015.
Maria Grazia Coggiola

KATHMANDU — It's 4 p.m. in Durbar Square, the iconic piazza in the middle of Nepal's capital, and a group of volunteers is digging through the rubble of the Hindu Kasthamandap Temple which, according to legend, was built with the wood of a single tree in the 12th century. Suddenly, there's an explosion of joy and a round of applause.

Two rescuers hold a pigeon who miraculously survived in a crevice between two beams. They raise it towards the sky, and after a bit of confusion, the bird takes off. It's a moment of hope after 24 non-stop hours of desperate attempts to find survivors of Saturday's devastating earthquake.

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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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