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Boom Town: African and Latin-American Literature in Cartagena

Last week's inaugural Hay festival in Cartagena confirmed that Latin American literature has moved on from magic realism. Maya Jaggi meets the writers working in the shadow of Gabriel García Márquez.
Gabriel García Márquez spent his first night in Cartagena de Indias in jail, after police found him wandering the streets peso-less during curfew. It was 1948, the onset of Colombia's bloody years of La Violencia, and he was 20, a budding journalist. But a night in the cells failed to dampen his wonder at the Spanish colonial seaport. As he wrote in his memoir Living to Tell the Tale (2002), after wading though a swamp of blood and mud, corpses and ruins, "the world changed in Cartagena… this solitude without sorrow, this incessant ocean, this immense sensation of having arrived".

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DIMITRIS LYACOS

 

 

 

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Decorum Wafts, by Sheila Murphy

She heard 'generous' while he painted the layer wedged beneath a surface aching with its depth. As though he were inventing her. His hands upon a
place not yet invented. Her expression where smile wrinkles would be. A stucco tree in an imaginary yard, with just the right resistance level planted in the ground. 'Somebody live here,' she implored. 'There's not enough of me.' He gradually rose to invitations that he heard repeated when they spoke their separate languages all the in the name of center fraction. Once when he appeared a boy, a woman wrote in penmanship entire new syllabi. His line drawings of her began to serve as her replacement. As he grew, pale diary entries held an overcast arrangement. When she wept, he also cried. The question of identity was shared, and when dusk began to lose clarity, opaque new dove lines crossed the sense of limits into sweet night. He was feathering a wilderness, and she could be again the child.

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