191:, currently contributes cultural columns. In 1953, he was offered the general management position of this paper, which he accepted with great enthusiasm, telling García Márquez that he wanted to transform it "into the modern newspaper he had learned how to make in the United States", at Columbia University. However, it was "a fatal adventure," owing, García Márquez suggests, to the fact that "some aging veterans could not tolerate the renovatory regime and conspired with their soulmates until they succeeded in destroying their empire." Cepeda Samudio left the paper shortly thereafter. He was also the Colombian
364:) (2002), García Márquez writes that his friend was "more than anything a dazzling driver—of automobiles as well as letters." The influence of Cepeda Samudio, not solely on the works of later Colombian and Latin American writers, but also on García Márquez, is evident not only in the latter writer's confessions in his autobiography of "imitating" his friend, but also in his clear admiration for his literary abilities. In his short story, "
87:, has received considerable notice beyond the Spanish-speaking world, having been translated into several languages, English and French among them; his fame as a writer has therefore been significantly curtailed in the greater international readership, as the breadth of his literary and journalistic output has reached few audiences beyond those of Latin America and Latin American literary scholars.
235:, he consistently decried a need for "a renovation of Colombian prose fiction". He avidly sought out and championed what would have been, particularly at the time and in the considerably culturally conservative Colombia, considered "unorthodox" literature to many of his friends, notably García Márquez and other members of the Barranquilla Group, by introducing many to
376:, informing the reader that "Álvaro Cepeda Samudio, who was also traveling in the region, selling beer-cooling equipment, took me through the desert towns" of which the story, and most of the stories in the collection, take place, suggesting the sharedness of the lands traversed in his stories with his polymath "driver" friend. In the final chapter of
336:) (1954), which they co-wrote and directed based on an idea by Cepeda Samudio; García Márquez states that he conceded to take part in its creation as "it had a large dose of lunacy to make it seem like ours." The film still occasionally makes appearances at "daring festivals" around the world, with the help of Cepeda Samudio's wife, Tita Cepeda.
287:(1962) further explores this narrative reliance on a singular, unmediated narrator, and experiments, in a manner he hadn't displayed before, with structure, breaking the narrative up into ten distinct sections. His adoration of the works of Faulkner can perhaps be most fully seen in this work. In addressing the events of the
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García Márquez states that "everything in this book is a magnificent example of how a writer can honestly filter out the immense quantity of rhetorical and demagogic garbage that stands in the way of indignation and nostalgia." Menton suggests that, in this way, it "is one of the important forerunners of
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through disjointed narratives which circumnavigate the violence without fully delving into the actualities of it, the central actions and content of the novel are presented as the inner reactions to them on the part of those associated with the event, not as an expository account of the event itself;
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Cepeda
Samudio harbored an intense love and knowledge of films, and often wrote criticisms of the subject in his columns. García Márquez writes that his sustenance as a film critic would not have been possible had he not partaken in "the traveling school of Álvaro Cepeda". The two eventually made a
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into
English, states that the first story in the collection "is narrated in the first person by the protagonist without any intervention by the traditional moralizing and artistic omniscient narrator." This full embrace of a greater psychological impulse within the stories, as well as a rejection of
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His promotion of the need for innovative literary styles and means, particularly within
Colombia, is found in more than simply his essayistic criticism and columns, however, and he went on to write two short story collections and a novel in which his ideals found themselves manifested. His first
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bought an eternal ticket on a train that never stopped traveling. In the postcards that he sent from the way stations he would describe with shouts the instantaneous images that he had seen from the window of his coach, and it was as if he were tearing up and throwing into oblivion some long,
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in April 1950, dedicating its pages primarily to literature and sports reporting. Cepeda
Samudio made the point to include, for the first eight months of its publication, a foreign short story in each issue. He also spent time writing columns for the Barranquilla daily newspaper
62:, he is known in his own right as an important and innovative writer and journalist, largely inspiring much of the artistically, intellectually and politically active climate for which this particular time and place, that of mid-century Colombia, has become known.
144:, for elementary and high school. In the spring of 1949, he traveled to Ann Arbor, MI, United States and attended the University of Michigan English Language Institute for the summer term. For the fall term in the 1949-50 school year he attended
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workers at Ciénaga's railroad station were massacred by the
Colombian army, an event that with age became pivotal to the writer's social- and political-consciousness, as evidenced in its central role in his only novel,
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outside his home country, where it derives primarily from his standing as having been part of the influential artistic and intellectual circle in
Colombia in which fellow writer and journalist
128:) (1967), the seminal novel of his close friend Gabriel García Márquez, and served a similar motivating principle in his dedication to social and political awareness through
271:) (1954), bears the markings of his interest in Hemingway, and created a considerable publishing event among academic critics of the time. Seymour Menton, who translated
296:," and García Márquez elaborates, "it represents a new and formidable contribution to the most important literary phenomenon in today's world: the Latin American novel."
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any mediating contextualizations, was among the many claims Cepeda
Samudio made for the necessary "modernization" of literature. García Márquez would later state that
201:, based out of St. Louis, and ultimately secured his position as one of his country's preeminent journalists and editors by becoming the editor-in-chief first of
152:. For the winter term, he attended what is now Michigan State University (then Michigan State College) in Lansing, MI before returning home to Barranquilla.
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As with many of the core members of the
Barranquilla Group, Cepeda Samudio began his career as a journalist, writing first, in August 1947, for
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Prologue, Todos estábamos a la espera, by Álvaro Cepeda
Samudio, Third Edition, El Ancora Editores, 2003.
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One
Hundred Years of Solitude, First HarperPerennial Edition, HarperCollins Publishers, Inc., 1992.
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Cepeda Samudio's desire for a "renovatory regime" extended, however, far beyond his influence over
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Cepeda Samudio died in 1972, the year that his final collection of short stories,
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The Incredible and Sad Tale of Innocent Eréndira and her Heartless Grandmother
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Introduction, La Casa Grande, First Edition, University of Texas Press, 1991.
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Cepeda Samudio's final publication of fiction was the short story collection
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Collected Stories, First Edition, Harper & Row, Publishers, Inc., 1984.
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Forward, La Casa Grande, First Edition, University of Texas Press, 1991.
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Living to Tell the Tale, First Edition, Vintage International, 2004.
280:"was the best book of stories that had been published in Colombia".
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Living to Tell the Tale First Edition, Vintage International, 2004.
103:, where his family was from), Colombia, two years before striking
75:—with whom he was also a member of the more particularized
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also played prominent roles. Only one of his works,
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33:(March 30, 1926 – October 12, 1972) was a
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379:One Hundred Years of Solitude
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407:Todos estábamos a la espera
278:Todos estábamos a la espera
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215:Literary career and outlook
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593:Colombian male journalists
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603:20th-century male writers
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419:Los cuentos de Juana
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289:Santa Marta Massacre
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243:. In his column in
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458:References
426:Nonfiction
245:El Heraldo
233:El Heraldo
184:El Heraldo
134:literature
130:journalism
38:journalist
340:Late life
250:Bestiario
53:filmmaker
35:Colombian
42:novelist
401:Fiction
384:Macondo
177:Crónica
101:Ciénaga
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