In the following essay, Cohn explores García Márquez's treatment of linear time in Leaf Storm and notes the influence of William Faulkner, James Joyce, and Virginia Woolf on the novel.

In the following essay, Irvine discusses One Hundred Years of Solitude as a work of magical realism and places the novel within the context of Latin American postmodernism and postcolonialism.

In the following essay, Spiller examines the “mythic and historical” aspects of One Hundred Years of Solitude, arguing that the novel “emerges out of a Renaissance genre which used myth to create what then became history while it also transformed existing history into a form of myth.”

In the following essay, Mejía examines the relationship between the dictator and populace as portrayed in The Autumn of the Patriarch.

In the following essay, Rincón discusses the roles that Jorge Luis Borges and García Márquez hold as South American postmodern authors.

In the following essay, Penuel discusses how “El rastro de tu sangre en la nieve” utilizes various elements of the fairy tale genre.

In the following positive review of News of a Kidnapping, Lane provides biographical background on García Márquez, his ideological development, and the political situation in Colombia.

In the following essay, Booker asserts that Love in the Time of Cholera is a more complex book than most critical readings suggest and links the novel with Gustave Flaubert's Madame Bovary and Vladimir Nabokov's Lolita.

In the following essay, Moraña provides a thematic and stylistic analysis of Love in the Time of Cholera.

In the following essay, Jones addresses García Márquez's perspective on male-female relationships in Love in the Time of Cholera.

In the following essay, Buehrer discusses Love in the Time of Cholera as a postmodern novel that utilizes a traditional thematic structure.

In the following essay, Olsen focuses on the narrative frustration commented upon by many critics of García Márquez's work, noting that the uncertainty and nebulous nature of the writer's work is intentional, and very much in line with many other works of postmodern fantasy which resist the idea of closure or completeness.

In the following essay, Palencia-Roth examines the dominant thematic concerns in Love in the Time of Cholera and The General in His Labyrinth, concluding that “taken together, these two most recent novels demonstrate once again the astonishing range of García Márquez's work and the empathetic flexibility of his mind and heart.”

In the following essay, Christie examines the work of William Faulkner in order to expound on García Márquez's various allusions in Chronicle of a Death Foretold.

In the following favorable review, Reid offers a stylistic analysis of News of a Kidnapping and expounds on the events that inspired the book.

In the following essay, Landau contrasts the use of metafiction as a rhetorical device in Hegel's history of “Absolute Spirit” and García Márquez's One Hundred Years of Solitude.

In the following review, Bayley explores the major thematic concerns of the stories in Strange Pilgrims.

In the following review, Adams praises the elegiac language of The General in His Labyrinth, contrasting the work with the fiction of Mario Vargas Llosa.

In the following essay, de Carvalho argues that the short story “The Night of the Curlews” is a turning point in García Márquez's literary development.

How good is Gabriel García Márquez? "Define your terms," I can hear some wise undergraduate reply. "What do you mean by is?" Yet I ask the question in earnest. Over the past weeks I have been reading García Márquez's four novels and three collections of stories—all of his work available in English translation—and I am still not certain how good he is. If I were to be asked how talented, I have a ready answer: pound for pound, as th...

In the following essay, Kooreman illustrates “how the Colonel's language and intuition reflect a poetic view of his environment” in No One Writes to the Colonel.

[The opening sentence of Rushdie's essay purposely imitates García Márquez's writing style.] We had suspected for a long time that the man Gabriel was capable of miracles, because for many years he had talked too much about angels for someone who had no wings, so that when the miracle of the printing presses occurred we nodded our heads knowingly, but of course the foreknowledge of his sorcery did not release us from its power, and under the spell of that nostalgic witchcraft we ...

In the following review, Butt praises García Márquez's journalistic excellence in News of a Kidnapping.

In the following mixed review, Massing argues that News of a Kidnapping is a cogent and powerful account of the impact of drug trafficking on García Márquez's native Colombia.

In the following review, Belli praises Vivir para contarla, noting that, for Latin Americans, “being able to read García Márquez … without intermediaries is one privilege we cannot forfeit.”

In the following essay, Clark provides a critical interpretation of the conclusion of One Hundred Years of Solitude.

At a time of dire predictions about the future of the novel, García Márquez's prodigious imagination, remarkable compositional precision, and wide popularity provide evidence that the genre is still thriving. Although his dramatizations of the sinister forces threatening twentieth-centùry life imply strong moral indignation, his works are illumined by flashes of irony and the belief that human values are perennial. The amazing totality of his fictional world is also achieved thro...

In the following review of News of a Kidnapping, Levi commends García Márquez's gripping portrayal of a series of abductions carried out in Bogotá in 1990.

In the following review of Collected Stories, Wood delineates the differences between García Márquez's short fiction and his novels.

In the following review, Kerrigan delineates the major thematic concerns of Of Love and Other Demons.

In the following review, Hensher praises News of a Kidnapping, complimenting García Márquez for “giving the reader exactly the right details and leading him through a complicated series of events with perfect clarity.”

In the following unfavorable review, Siegel argues that, despite García Márquez's skillful prose, The General in His Labyrinth is still a disappointing and unoriginal work.

In the following excerpt, Dinnage asserts that Of Love and Other Demons is “an ambitious book, different from and darker than anything García Márquez has written before.”

In the following review, Rodman commends García Márquez's balanced portrait of Símon Bolívar in The General in His Labyrinth.

In the following essay, Matos considers the recurring motif of animals and animalistic behavior in Of Love and Other Demons.

In the following review, Sonenclar unfavorably compares García Márquez's short fiction to his novels, arguing that some of the stories in Strange Pilgrims are trite and hackneyed.

In the following review, Bemrose derides García Márquez's lack of analysis as well as his focus on upper-class characters in News of a Kidnapping, but notes that the book is still an unforgettable piece of journalism.

In the following review, Page criticizes News of a Kidnapping, asserting that “perhaps the most glaring weakness of the book is its failure to put these events in a perspective that would render them more comprehensible to readers unfamiliar with Colombia's tortured history.”

In the following review, Sturrock offers a negative assessment of Strange Pilgrims, arguing that the collection is comprised of “facile stories, too easy on the mind, soft-centred and poorly focused.”

Gabriel García Márquez has repeatedly expressed his surprise at being so insistently regarded as a writer of fantastic fiction. That exotic or "magical" element so characteristic of his work is, by his account, not really his own achievement. It is merely the reality of Latin America, which he has faithfully transcribed in more or less the same way that he might write about it in, say, an ordinary article written for a daily newspaper. On a number of occasions, in fact, Má...

In the following review, Bemrose criticizes Of Love and Other Demons, faulting García Márquez's prose as overwrought and rigid.

In the following review, Deas offers a negative assessment of News of a Kidnapping.

In the following review, Bierman offers a positive assessment of The General in His Labyrinth, noting that “García Márquez has painted a memorable picture of greatness in decay, both physical and moral.”

In the following review, Butt evaluates the strengths and weaknesses of News of a Kidnapping.

In the following review, Gould offers a positive assessment of Of Love and Other Demons.

Though he is one of the wittiest and most exhilarating of contemporary Latin American writers, García Márquez has repeatedly created characters who live, to varying degrees, in a state of solitude. From the earliest work, Leaf Storm, to the wonderful novella No One Writes to the Colonel, to the masterwork One Hundred Years of Solitude, we find people existing not only in spiritual isolation but in physical isolation as well: Macondo, the author's miraculous mythical town—the sett...

In the following review, Hood contends that although Of Love and Other Demons is well-written and interesting, “it is less complex and engrossing than many of García Márquez's previous novels.”

In the following review, Hopkinson evaluates the strengths and weaknesses of Strange Pilgrims.

In the following review, Hood praises the stylistic and thematic unity of the stories in Strange Pilgrims.

In the following review, Saunders examines García Márquez's portrayal of true-life details in News of a Kidnapping, arguing that the work transcends both reportage and fiction.

García Márquez is a rare instance of the sort of writer often daydreamed about by modern booklovers and literati—an artistically serious, technically and intellectually sophisticated, politically progressive author whose works enjoy popular acclaim. (p. 97) Though mixed, [Innocent Eréndira and Other Stories] is well worth its two or three achieved narratives, especially the title work, one of García Márquez's loveliest. (p. 98)

In the following review, Williamson lauds the poetic narrative and accomplished storytelling in The General in His Labyrinth.

[In] 1979, nearly a quarter of a century after its conception, "In Evil Hour" appears at last in English, thereby filling in the last significant gap in the García Márquez opus. Given its wit, perception, imaginative richness and easy accessibility, it is astonishing that we have had to wait so long…. [With "In Evil Hour"] young García Márquez, moving away from the experimental fantasy and lyricism of his early stories toward his own sense of &#...

In the following review, Theroux praises the stories in Strange Pilgrims, calling the work “a rich and wonderful collection.”

[The youthful realism of García Márquez], as yet unleavened by fantastic event and dream-like imagery, is present in this earlier novel of a South American town disrupted by the appearance of mysterious posters…. In Evil Hour exposes the secrets and violent longings beneath the rainy tranquility of that town … During the rains of one October, a jaguar hunter, seeing on his door a poster accusing his wife of infidelity with a clarinet player, rides to the musician's house a...

Garcia Marquez has been translated into so many different languages, and acclaimed for so many different reasons, that any generalisation about the secret of his success is bound to look unsatisfactory. But in this country, at least, part of his appeal is as an expansive and full-blooded alternative to our tight little novels of social manners. The energy and excess which would probably not be tolerated in an English writer present no problems when they come from a Latin. Garcia Marquez has revitalised that...

In Evil Hour, begun in 1956, abandoned for a while, then finished in 1961, is a novel which belongs to the period of García Márquez's idolatry of the cinema. It doesn't have the verve or the tone of the narrative invention of One Hundred Years of Solitude, but it does have other virtues. It is intensely visualized, as befits García Márquez's beliefs at the time, and it has pieces of dialogue which would be a credit to any movie, but especially those Hollywood...

García Márquez' mysterious caudillo, perhaps a composite or a specific individual like Juan Vicente Gómez, symbolizes the abuse of power as traditionally practiced in novels from Amalia to Carpentier's current El recurso del método. In his novel, which resembles El gran Burundún Burundá of his countryman Jorge Zalamea, García Márquez copies his own verbal mythology to describe a dictator whose life extends beyond a hundred years. Combinin...

In the following review, Siemens investigates the techniques that García Márquez uses to demythologize Simón Bolívar in The General in His Labyrinth.

Since ["One Hundred Years of Solitude"] and since its successor, "The Autumn of the Patriarch,"… García Márquez has felt doubts about what he is doing. His is the old quandary of the "committed" writer: should he continue to luxuriate in exile, writing books mocking the stagnation and repression of his native continent, or would it not be more honorable to attempt something practical in order to remove them? García Márquez hankers ...

Marquez's style (unlike Borges, who has been influenced by writers as diverse as Poe, Stevenson and Carlyle) is perhaps more what the European would expect from Latin America: earthy, sprawling, often ludicrously hyperbolic. And, again unlike Borges' refined economical tone, one suspects it translates badly. Certainly the punctuation in [Innocent Eréndira] is wayward and Marquez's vocabulary is obsessive: favourite words—'arid', 'radiant', �...