title: Domestic violence

text: People in same-sex relationships face special obstacles in dealing with the issues that some researchers have labeled the "double closet". A 1997 Canadian study by Mark W. Lehman suggests similarities include frequency (approximately one in every four couples); manifestations (emotional, physical, financial, etc.); co-existent situations (unemployment, substance abuse, low self-esteem); victims' reactions (fear, feelings of helplessness, hypervigilance); and reasons for staying (love, can work it out, things will change, denial). Studies conducted by Emory University in 2014 identified 24 triggers for partner violence through web-based surveys, ranging from drugs and alcohol to safe-sex discussions. A general theme of power and control seems to underlie abuse in both heterosexual and homosexual relationships.


title: Domestic violence

text: At the same time, significant differences, unique issues, and deceptive myths are typically present. Lehman, regarding his 1997 survey, points to added discrimination and fears that gay and lesbian individuals may face. This includes potential dismissal by police and some social services, a lack of support from peers, fear of attracting stigma toward the gay community, the impact of an HIV/AIDS status in keeping partners together (due to health care insurance/access, or guilt), threat of outing, and encountering supportive services that are targeted, or structured for the needs of heterosexual women, and may not meet the needs of gay men or lesbians. This service structure can make LGBTQ victims feel even more isolated and misunderstood than they may already because of their minority status. Lehman, however, stated that "due to the limited number of returned responses and non-random sampling methodology the findings of this work are not generalizable beyond the sample" of 32 initial respondents and final 10 who completed the more in-depth survey. Particularly, sexual stressors and an HIV/AIDS status have emerged as significant differences in same-sex partner violence.


title: Domestic violence

text: Management of domestic violence may take place through medical services, law enforcement, counseling, and other forms of prevention and intervention. Participants in domestic violence may require medical treatment, such as examination by a family physician, other primary care provider, or emergency room physicians.


title: Domestic violence

text: Counseling is another means of managing the effects of domestic violence. For the victim of abuse, counseling may include an assessment of the presence, extent and types of abuse. A lethality assessment is a tool that can assist in determining the best course of treatment for a client, as well as helping the client to recognize dangerous behaviors and more subtle abuse in their relationship. In a study of victims of domestic violence-related attempted homicide, only about one-half of the participants recognized that their perpetrator was capable of killing them, as many domestic violence victims minimize the true seriousness of their situation. Another important component is safety planning, which allows the victim to plan for dangerous situations they may encounter, and is effective regardless of their decision on whether they remain with their perpetrator.


title: Domestic violence

text: Counseling may be used by offenders to minimize the risk of future domestic violence, or to stop the violence and repair the harm it has caused. Most commonly, to date, convicted or self-referring offenders undertake programmes for perpetrators of intimate partner violence. These are delivered in a group format, one or two hours per week, over a set time period. Programme facilitators guide participants through a curriculum of adult education-style modules, which draw on a variety of therapeutic approaches, but predominantly cognitive behavioural therapy and psycho-education. A debate on the effectiveness of these programmes is ongoing. While some partners and ex-partners of offenders have experienced improvements in their situation, others have not, and there also appears to be a risk of doing harm. Along with using group work, there are other approaches that incorporate individual and conjoint conversations to help stop the violence and restore the victims' safety and respect.


title: Domestic violence

text: Prevention and intervention includes ways to prevent domestic violence by offering safe shelter, crisis intervention, advocacy, and education and prevention programs. Community screening for domestic violence can be more systematic in cases of animal abuse, healthcare settings, emergency departments, behavioral health settings and court systems. Tools are being developed to facilitate domestic violence screening such as mobile apps. The Duluth Model or Domestic Abuse Intervention Project is a program developed to reduce domestic violence against women, which is the first multi-disciplinary program designed to address the issue of domestic violence by coordinating the actions of a variety of agencies dealing with domestic conflict.


title: Domestic violence

text: domestic violence hotlines offer advice, support and referral services to those in abusive relationships.


title: Domestic violence

text: There exist several strategies that are being used to attempt to prevent or reduce domestic violence. It is important to assess the effectiveness of a strategy that is being implemented.


title: Domestic violence

text: Reforming the legislation in order to ensure that domestic violence falls under the scope of the law is important. This may imply repealing existing laws which discriminate against women: according to the WHO, "when the law allows husbands to physically discipline wives, implementing a programme to prevent intimate partner violence may have little impact". Marriage laws are also important; "women should also be able to enter freely into a marriage or to leave it, to obtain financial credit, and to own and administer property." Abolishing or restricting the offering and receiving of dowry and bride price and scrutinizing the impact of these transactions on the legislative decisions regarding domestic violence is also important. UN Women has stated that the legislation should ensure that "a perpetrator of [domestic violence], including marital rape, cannot use the fact that he paid bride price as a defence to a [domestic violence] charge".


title: Domestic violence

text: Gender norms that promote the inferiority of women may lead to the abuse of women by intimate partners. The WHO writes that, "Dismantling hierarchical constructions of masculinity and femininity predicated on the control of women, and eliminating the structural factors that support inequalities are likely to make a significant contribution to preventing intimate partner and sexual violence".


title: Domestic violence

text: According to the Centers for Disease Control and Prevention, "A key strategy in preventing [domestic violence] is the promotion of respectful, nonviolent relationships through individual, community, and societal level change." Early intervention programs, such as school-based programs to prevent dating violence are also effective. Children who grow up in violent homes may be led to believe that such behavior is a normal part of life, therefore it is important to challenge such attitudes when they are present among these children.


title: Domestic violence

text: The UN Sustainable Development Goal 16 has a target to end all forms of violence including domestic violence through global advocacy and demand for effective institutions. The joint UN-EU Spotlight initiative was launched in 2016 to advance this goal worldwide with focus on developing countries and regions. The Spotlight Initiative is embraced by all implementing partners as critical to economic and political progress in both the implementing and targeted societies.


title: Jeffrey Jones

text: Jeffrey Duncan Jones (born September 28, 1946) is an American character actor, best known for his roles as Emperor Joseph II in "Amadeus" (1984), Edward R. Rooney in "Ferris Bueller's Day Off" (1986), Charles Deetz in "Beetlejuice" (1988), Dr. Skip Tyler in "The Hunt for Red October" (1990), Eddie Barzoon in "The Devil's Advocate" (1997), and A. W. Merrick in both "Deadwood" (2004–2006) and "" (2019). His career started in Guthrie Theater in Minneapolis, Minnesota, and advanced to London and Broadway. In film and television, Jones has had many roles which capitalized on his deadpan portrayal of characters in unusual situations, often to comic effect. He was nominated for a Golden Globe Award for his performance in "Amadeus" and a Screen Actors Guild Award as part of the ensemble cast of "Deadwood".


title: Jeffrey Jones

text: In 2003, Jones pleaded no contest to a charge of soliciting a minor to pose for nude photographs and had subsequent arrests for failing to update his sex offender status.


title: Jeffrey Jones

text: Jones was born in Buffalo, New York, the son of Ruth (née Schooley) and Douglas Bennett Jones. His mother was an art historian, who urged him towards a career in acting. His father died when Jones was an infant.


title: Jeffrey Jones

text: After graduating from the Putney School in 1964, Jones enrolled in Lawrence University as a premed student, where his performances in university productions brought him to the attention of Tyrone Guthrie, who recruited him for the Guthrie Theater in Minneapolis, Minnesota. He then went to London in 1969 to study at the London Academy of Music and Dramatic Art, followed by a three-year stint with the Stratford Theatre in Stratford, Ontario.


title: Jeffrey Jones

text: His stage career included more than 125 productions, starting with the Guthrie Theater, then internationally in South America, Canada, and London, and in New York Off-Broadway in "Cloud 9" and "Henry V", among other productions, as well as on Broadway in productions including "Trelawny of the Wells" and "The Elephant Man". His transition from stage to film began in 1970.


title: Jeffrey Jones

text: Jones began acting in small parts in film and television in the 1970s. In his best-known roles as Emperor Joseph II in "Amadeus", Charles Deetz in "Beetlejuice", and Edward R. Rooney in "Ferris Bueller's Day Off", his dead-pan expression and distinctive face bring a comic flavor to his characters through their reactions to the situations in which they find themselves, more so than the wit in their scripted lines. "The New York Times" biographic profile says of Jones, "Although he has tried to steer clear of playing only sinister roles, the actor's imposing height, bugged-out eyes, easy sneer, and shock of reddish-blond hair give him vaguely devilish features that have prompted villain typecasting. However, the actor is also widely respected and considered a boon wherever he appears." The profile describes his portrayals variously as a "hissable, cartoonish high school principal" in "Ferris Bueller's Day Off", a "good-natured father" in "Beetlejuice", "an interplanetary freedom fighter" in "Mom and Dad Save the World", a "demon stand-in" in "Stay Tuned", "evil bespectacled twins" in "Out on a Limb", plus other "personae" in a variety of other roles.


title: Jeffrey Jones

text: Jones' work in the Lucille Lortel Theatre production of "Cloud 9" was noticed by the casting team of "Easy Money" (1983), earning Jones a supporting role opposite Rodney Dangerfield.


title: Jeffrey Jones

text: "Cloud 9" further attracted the attention of director Miloš Forman, who cast Jones as Joseph II, Holy Roman Emperor in "Amadeus" (1984), an adaptation of the Peter Shaffer play of the same name. Critic James Berardinelli noted that Jones portrayed the Emperor "as a superficial and self-absorbed ruler who can't tell the difference between a great opera and a mediocre one". Vincent Canby of "The New York Times" praised Jones's performance, citing the film's most memorable line, when the Emperor complains of "Die Entführung aus dem Serail" that "there are too many notes". Jones' work earned him a nomination for the Golden Globe Award for Best Supporting Actor – Motion Picture.


title: Jeffrey Jones

text: Jones' performance as Edward R. Rooney in the film "Ferris Bueller's Day Off" (1986) made him a cultural icon. Rooney, self-important and obsessed with catching the chronic truant Ferris Bueller, became a symbol of pomposity and authoritarian hatefulness. "The New York Times" review characterized Jones' performance as having "fine cartoon like ferocity", wherein his character "gets scratched, bitten, attacked by ferocious dogs and covered with mud while pursuing his weaker, but craftier prey, and emerges each time bruised but undaunted, thinking up some new (and futile) plan." The review likened Jones' role as akin to that of Wile E. Coyote as a character who is fated to be unable to catch The Road Runner (Ferris Bueller). Jones expressed concern about being remembered more for this role than for "Amadeus". He further said, regarding the film's premise, "What's amazing about Ferris Bueller, is that we're asked to, and do, sympathise with a kid whose only complaint in life is that his sister got a car for her birthday and he got a computer."


title: Jeffrey Jones

text: In the horror comedy film "Beetlejuice" (1988), Jones and Catherine O'Hara portrayed a married couple (Charles and Delia Deetz) who unwittingly become co-owners of a haunted house. To highlight this couple's status as boors, director Tim Burton cast Dick Cavett and Robert Goulet to appear as their guests at a dinner party, at which the ghosts of the previous owners cause everyone to sing "Day-O (The Banana Boat Song)".


title: Jeffrey Jones

text: Jones collaborated with Burton again on the films "Ed Wood" (1994), in which he portrays The Amazing Criswell, and "Sleepy Hollow" (1999). Shortly prior to the release of "Sleepy Hollow", Jones said of Burton, "I've known Tim now for quite some time and really enjoy working with him. I like his sensibility, and he's great fun."


title: Jeffrey Jones

text: Jones played Dr. Walter Jenning in the George Lucas film "Howard the Duck" (1986). He portrayed Inspector Lestrade in the Sherlock Holmes spoof film "Without a Clue" (1988). In "The Hunt for Red October" (1990), he played ex-submarine commander Skip Tyler, who identifies the Red October's propulsion system to Alec Baldwin's Jack Ryan. He also appeared as real-life figure Thomas Putnam in "The Crucible" (1996). He also played Uncle Crenshaw Little in "Stuart Little" (1999). As lumber mogul Joe Potter, Jones was the primary antagonist of the Eddie Murphy comedy "Dr. Dolittle 2" (2001).


title: Jeffrey Jones

text: One of Jones' earliest television roles was in an episode of the short-lived CBS series "Sara" (1976). He showcased his villain persona as the sinister Mister Acme (owner of Acme Toxic Waste) in the satirical comedy miniseries "Fresno" (1986), starring Carol Burnett, Charles Grodin and Dabney Coleman. For Disney, Jones hosted the 1987 D-TV Monster Hits musical special (as the Magic Mirror) and later co-starred with Tyra Banks, Kathy Najimy and Kevin Pollak in the video storyline portion of the Walt Disney World attraction ExtraTERRORestrial Alien Encounter, a staple of Tomorrowland from 1995 to 2003. He has had guest roles on a number of television series, including "Amazing Stories", "Tales from the Crypt" and "". He was the star of another short-lived CBS program: sitcom "The People Next Door" (1989), portraying a cartoonist whose imagination could make things come to life.


title: Jeffrey Jones

text: Jones' most prominent television role is that of newspaper publisher A. W. Merrick on the acclaimed HBO drama series "Deadwood" (2004–2006). Keith Uhlich of "Slant Magazine" referred to both Jones and the character of Merrick as "perversely appropriate additions" to the program, further citing Merrick as its "secular soul". Along with the ensemble cast, Jones was nominated for the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series.


title: Jeffrey Jones

text: Subsequent to his legal troubles, Jones has become progressively less active as a performer. Following his appearance in the golf comedy "Who's Your Caddy?" (2007), he was absent from film and television for several years. He returned with an uncredited cameo as "Collier's" editor Charles Colebaugh in the Emmy-nominated HBO original film "Hemingway & Gellhorn" (2012), followed by the supporting role of scientist Gladstone in the independent disaster film "10.0 Earthquake" (2014). Jones went on to play a fictional version of himself in the short film "7 Days" (2016) and reprised the role of A. W. Merrick in "".


title: Jeffrey Jones

text: In May 2015, Jones returned to the stage with the New American Theatre production of "63 Trillion", directed by Steve Zuckerman. The "Los Angeles Times" praised his portrayal of financial adviser Dick as having "malevolent gusto that Satan himself might envy." Beginning in March 2018, Jones portrayed ailing patriarch Bradley in a production of the A. R. Gurney play "The Cocktail Hour", staged at the Annenberg Theater in the Palm Springs Art Museum.


title: Jeffrey Jones

text: Jones has one son, actor Julian Coutts, whose mother was Lloy Coutts (1941–2008), a Canadian voice coach. She and Jones met in Stratford, Ontario.


title: Jeffrey Jones

text: One interviewer found Jones to value anonymity and the enjoyment of everyday tasks, like home repairs, and found him to be uninterested in status symbols and fan adulation. In that 1989 interview, Jones pointed out that greater public recognition actually makes it more difficult to transition between roles and allow the character to come to the fore and the actor to recede from view.


title: Jeffrey Jones

text: On October 13, 2020, Jones spoke virtually with Suzanna Bowling of the Times Square Chronicles, in an interview for The Lambs. Topics of discussion included Jones' path to acting and early theater career, as well as projects including "Ferris Bueller's Day Off", "Beetlejuice", "Howard the Duck" and "Deadwood".


title: Jeffrey Jones

text: In 2002, Jones was arrested for possession of child pornography and accused by a 17-year-old boy of solicitation to pose for nude photographs. He pleaded no contest to a charge of soliciting a minor, as the accuser was 14 when the offense first occurred. At the same time, the misdemeanor charge of possession of child pornography was dropped. His attorney emphasized that there was no allegation of improper physical contact. His punishment was five years' probation, counseling, and the requirement to register as a sex offender. As of 2021, Jones was listed on the U.S. Department of Justice national sex offender database.


title: Jeffrey Jones

text: Jones was arrested twice for failing to update his sex offender status, first in Florida in 2004, and then six years later in California. In 2006, Jones' record became the subject of community complaint during production of "Who's Your Caddy?" in Aiken, South Carolina. Upon learning of his involvement, locals insisted that the public should have been alerted, considering that families were being invited to visit the set. Surrounding the release of "Deadwood: The Movie", Jones' crime was noted by the media.


title: The King's Speech

text: The King's Speech is a 2010 British historical drama film directed by Tom Hooper and written by David Seidler. Colin Firth plays the future King George VI who, to cope with a stammer, sees Lionel Logue, an Australian speech and language therapist played by Geoffrey Rush. The men become friends as they work together, and after his brother abdicates the throne, the new king relies on Logue to help him make his first wartime radio broadcast upon Britain's declaration of war on Germany in 1939.


title: The King's Speech

text: Seidler read about George VI's life after learning to manage a stuttering condition he developed during his own youth. He started writing about the relationship between the therapist and his royal patient as early as the 1980s, but at the request of the King's widow, Queen Elizabeth The Queen Mother, postponed work until her death in 2002. He later rewrote his screenplay for the stage to focus on the essential relationship between the two protagonists. Nine weeks before filming began, the filmmakers learned of the existence of notes written by Logue that were being used by his grandson Mark and Peter Conradi as the basis of a , and were granted permission to incorporate material from the notes and book into the script.


title: The King's Speech

text: Principal photography took place in London and around Britain from November 2009 to January 2010. Hard light was used to give the story a greater resonance and wider-than-normal lenses were employed to recreate the Duke of York's feelings of constriction. A third technique Hooper employed was the off-centre framing of characters.


title: The King's Speech

text: "The King's Speech" was a major box office and critical success. It was widely praised by film critics for its visual style, art direction, screenplay, directing, score, and acting. Other commentators discussed the film's representation of historical detail, especially the reversal of Winston Churchill's opposition to abdication. The film received many awards and nominations, particularly for Colin Firth's performance, which resulted in his first Academy Award for Best Actor. At the 83rd Academy Awards, "The King's Speech" received 12 Oscar nominations, more than any other film in that year, and subsequently won four, including Best Picture. Censors initially gave it adult ratings due to profanity, though these were later revised downwards after criticism by the makers and distributors in the UK and some instances of swearing were muted in the US. On a budget of £8 million, it earned over £250 million internationally.


title: The King's Speech

text: At the official closing of the British Empire Exhibition at Wembley Stadium, Prince Albert, Duke of York, the second son of King George V, addresses the crowd with a strong stammer. His search for treatment has been discouraging, but his wife, Elizabeth, persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist. "Bertie", as he is called by his family, believes the first session is not going well, but Lionel, who insists that all his patients address him as such, has his potential client recite Hamlet's "To be, or not to be" soliloquy while hearing classical music played on a pair of headphones. Bertie is frustrated at the experiment but Lionel gives him the acetate recording that he has made of the reading as a souvenir.


title: The King's Speech

text: After Bertie's father, King George V, broadcasts his 1934 Royal Christmas Message, he explains to Bertie that the wireless will play a significant part in the role of the royal family, allowing them to enter the homes of the people, and that Bertie's brother's neglect of his responsibilities make training in it necessary. The attempt at reading the message himself is a failure, but that night Bertie plays the recording Lionel gave him and is astonished at the lack of stutter there. He therefore returns for daily treatments to overcome the physical and psychological roots of his speaking difficulty.


title: The King's Speech

text: George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII. A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson. Edward, as the supreme governor of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive.


title: The King's Speech

text: At an unscheduled session, Bertie expresses his frustration that, while his speech has improved when speaking to most people, he still stammers when talking to David, at the same time revealing the extent of Edward VIII's folly with Simpson. When Lionel insists that Bertie himself could make a good king, Bertie accuses Lionel of speaking treason and quits Lionel in anger. Bertie must now face the Accession Council without any assistance.


title: The King's Speech

text: Bertie and Lionel only come together again after King Edward decides to abdicate in order to marry. Bertie, urged ahead by Prime Minister Stanley Baldwin, ascends the throne as King George VI and visits Lionel's home with his wife before their coronation, much to the surprise of Mrs. Logue when she comes upon Queen Elizabeth having tea at her dining room table. This is the first time that she learns who her husband's patient has been.


title: The King's Speech

text: Bertie and Lionel's relationship is questioned by the King's advisors during the preparations for his coronation in Westminster Abbey. The Archbishop of Canterbury, Cosmo Gordon Lang, brings to light that George never asked for advice from his advisors about his treatment and that Lionel has never had formal training. Lionel explains to an outraged Bertie that at the time he started with speech defects there were no formal qualifications and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience. Bertie remains unconvinced until provoked to protest at Lionel's disrespect for King Edward's Chair and the Stone of Scone. Only at this pivotal moment, after realising he has just expressed himself without impairment, is Bertie able to rehearse with Lionel and complete the ceremony.


title: The King's Speech

text: As the new king, Bertie is in a crisis when he must broadcast to Britain and the Empire following the declaration of war on Nazi Germany in 1939. Lionel is summoned to Buckingham Palace to prepare the king for his speech. Knowing the challenge that lies before him, Lang, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support. The King and Logue are then left in the broadcasting room. He delivers his speech with Logue conducting him, but by the end he is speaking freely. Preparing to leave the room for the congratulations of those present, Logue mentions to the King that he still has difficulty enunciating "w" and the King jokes back, "I had to throw in a few so they'd know it was me."


title: The King's Speech

text: As the Royal Family step onto the palace balcony and are applauded by the crowd, a title card explains that Logue, who received the Royal Victorian Order for service to the Crown, was always present at King George VI's speeches during the war and that they remained friends until the King's death from lung cancer in 1952.


title: The King's Speech

text: As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust. King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity." When Seidler became an adult, he resolved to write about King George VI. During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue. Eventually Seidler contacted Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission. She asked him not to do so in her lifetime, and Seidler halted the project.


title: The King's Speech

text: The Queen Mother died in 2002. Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer. His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition. Thus prepared, Seidler imagined the sessions. He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique". She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue. After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.


title: The King's Speech

text: In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script. Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother. She called her son and said, "I've found your next project".


title: The King's Speech

text: Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne. Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger." Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending ... If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it."


title: The King's Speech

text: The production team learnedsome nine weeks prior to the start of filmingof a diary containing Logue's original notes on his treatment of the Duke, which was in the process of being turned into a non-fiction book by Logue's grandson Mark and journalist Peter Conradi, titled "". Striking an agreement with the authors, they then went back and re-worked the script to reflect what was in the notes and the book. Some lines, such as at the climax, when Logue smiles and says, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes. Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision in the opening scene to dress the Duke in an overcoat rather than regal finery.


title: The King's Speech

text: Seidler thought Paul Bettany would be a good choice to play King George VI, while Hooper preferred Hugh Grant, though both actors declined the offer. Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role.


title: The King's Speech

text: The UK Film Council awarded the production £1 million in June 2009. Filming began in December 2009, and lasted 39 days. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January. The schedule was further complicated by Bonham Carter's availability: she worked on "Harry Potter" during the week, so her scenes had to be filmed during the weekend.


title: The King's Speech

text: The film depicted both regal opulence and scruffy, depression-era London. On 25 November 2009 the crew took over the Pullens buildings in Southwark and gave it the appearance of a street from 1930s London. Large advertisements for (among other things) Bovril and fascism were added to walls, and grit and grime to streets and buildings. To reproduce London smog of the timethick enough that cars might need guidance from someone walking aheadso much artificial smoke was used that fire alarms were triggered.


title: The King's Speech

text: On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism. Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location. Its size allowed them to build sets showing not just the coronation, but the preparations before it.


title: The King's Speech

text: Lancaster House, an opulent government-owned period house in London, was rented (at £20,000 per day) for interior scenes of Buckingham Palace. The 1936 Accession Council at St. James's Palace, where George VI swore an oath, was filmed in the Livery Hall of Drapers' Hall. The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture.


title: The King's Speech

text: The crew investigated Logue's former consultation rooms, but they were too small to film in. Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room. In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived in", unlike other period houses in London. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama.


title: The King's Speech

text: The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC. Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925. The crew had access to the stadium only at 10 pm, after a football game. They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes. Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.


title: The King's Speech

text: Other locations include Cumberland Lodge, Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room. The final cut of the film was completed on 31 August 2010.


title: The King's Speech

text: In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film. His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film.


title: The King's Speech

text: In addition, Firth watched archive footage of the King speaking. In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer. I think a less courageous director than Tom [Hooper] – and indeed a less courageous actor than Colin [Firth] – might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did." In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when it's quite infectious. You find yourself doing it and if I start thinking about it the worse it gets. If nothing else it's an insight into what it feels like."


title: The King's Speech

text: The film's original music is composed by Alexandre Desplat, which consisted of a sparse arrangement of strings and piano. The London Symphony Orchestra, conducted by Terry Davies, limited orchestral score by only adding oboe and harp in one cut, to convey the character of the king, while also using single note to represent the stickiness of the King's speech. Old microphones extracted from the EMI archives, specially made for the royal family, had been used to record the score, to create a dated sound.


title: The King's Speech

text: The use of the 2nd movement (Allegretto) of Beethoven's 7th Symphony, played during the broadcast of the 1939 radio speech from the film's climax, was played as a temp track added by editor Tariq Anwar. Desplat did not want to change the track and defended Anwar's suggestion, as the theme has a universal quality. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event. The score album also featured Wolfgang Amadeus Mozart's Marriage of Figaro overture. The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award. The score also won a Grammy at the 54th Grammy Awards.


title: The King's Speech

text: Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort. For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician. In "The New York Times", Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used. Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context".


title: The King's Speech

text: Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas. Hooper used wide shots to capture the actors' body language, particularly that of Geoffrey Rush, who trained at L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?" Martin Filler praised the "low-wattage" cinematography of Danny Cohen's, as making everything look like it has been "steeped in strong tea".


title: The King's Speech

text: At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview. Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18 inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances," he said.


title: The King's Speech

text: Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance. To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton.


title: The King's Speech

text: Several events in the film did not happen, or were exaggerated. The visual blog "Information is Beautiful" deduced that, while taking creative licence into account, the film was 74.4% accurate when compared to real-life events, summarising: "Some nips and tucks of the historical record, but mostly an accurate retelling of a unique friendship".


title: The King's Speech

text: The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment. The Duke of York actually began working with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years as suggested by the film. When he was dispatched to Australia to open their new Parliament House in Canberra in 1927, the Duke gave numerous speeches during the journey and performed well despite Logue not accompanying him on the trip. He wrote to Logue from the Caribbean, "You remember my fear of 'The King'. I give it every evening at dinner on board. This does not worry me any more." Of his speech opening Parliament it was observed that he spoke "resonantly and without stuttering".


title: The King's Speech

text: Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'". Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect.


title: The King's Speech

text: Christopher Hitchens and Isaac Chotiner have criticised the film for failing to indict the appeasement of the era or to portray Edward VIII's sympathetic attitude to Nazi Germany. "The Guardian" also corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top". Stanley's grandson, Earl Baldwin, was particularly unhappy with this film due to its factual distortions and portrayal of his grandfather as a dithering fool who misunderstood Hitler's intentions.


title: The King's Speech

text: Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary. The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare are."


title: The King's Speech

text: Hitchens and Chotiner also challenged the film's portrayal of Winston Churchill's role in the abdication crisis. It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as supportive of the Duke of York and not opposed to the abdication. Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy. In a smart, well-made film "would the true story not have been fractionally more interesting for the audience?", he wondered.


title: The King's Speech

text: Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting. Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German. Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis.


title: The King's Speech

text: Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of viewNeville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace." However, Roberts praises the film overall as a sympathetic portrayal of the King's "quiet, unassuming heroism [...] The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie's occasional factual bêtises should not detract from that."


title: The King's Speech

text: The film had its world première on 6 September 2010 at the Telluride Film Festival in the United States. It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award. The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash". Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile".


title: The King's Speech

text: The film was distributed by Transmission Films in Australia and by Momentum Pictures in the United Kingdom. The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America. The film was released in France on 2 February 2011, under the title "Le discours d'un roi". It was distributed by Wild Bunch Distribution.


title: The King's Speech

text: The film was initially given a 15 certificate by the British Board of Film Classification, due to a minute-long scene where Logue encourages the King to shout profanities, which he could do without stuttering. At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as "Salt" (2010) and "Casino Royale" (2006) to have "12A" ratings, despite their graphic torture scenes. Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult. Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult. In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers."


title: The King's Speech

text: In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience. Hooper refused to cut the film, though he considered covering the swear words with bleeps. Helena Bonham Carter also defended the film, saying, "[The film] is not violent. It's full of humanity and wit. [It's] for people not with just a speech impairment, but who have got confidence [doubts]." After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context. "The scene serves a purpose", Firth states. An alternative version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one. The PG-13 version of this film is not available on DVD and Blu-ray.


title: The King's Speech

text: In Great Britain and Ireland, the film was the highest earning film on its opening weekend. It took in £3,510,000 from 395 cinemas. "The Guardian" said that it was one of the biggest takes in recent memory, and compared it to "Slumdog Millionaire" (2008), which, two years earlier, earned £1.5 million less. "The King's Speech" continued a "stunning three weeks" atop the UK Box office, and earned over £3 million for four consecutive weekends, the first film to do so since "Toy Story 3" (2010). After five weeks on UK release, it was hailed as the most successful independent British film ever.


title: The King's Speech

text: In the United States "The King's Speech" opened with $355,450 (£220,000) in four cinemas. It holds the record for the highest per-cinema gross of 2010. It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011. It eventually made $138 million in North America overall.


title: The King's Speech

text: In Australia "The King's Speech" made more than A$6,281,686 (£4 million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia. The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular. "It's our No.1 for all the period, all throughout the country. ... I think this is more successful than "Slumdog Millionaire" and a more uplifting film. It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas."


title: The King's Speech

text: Of the film's net profit, estimated to amount to $30–40 million (£20–25 million) from the cinema release alone, roughly 20% was to be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who were to receive their bonuses before the other stakeholders. The remaining profit was to be split equally between the producers and the equity investors. The UK Film Council invested £1 million of public funds from the United Kingdom lottery into the film. In March 2011 "Variety" estimated that the return could be between fifteen and twenty times that. The Council's merger into the British Film Institute means that the profits were to be returned to that body.


title: The King's Speech

text: "The King's Speech" has received widespread critical acclaim, with Firth's performance receiving universal praise. Bonham Carter and Rush were also widely praised with both going on to win BAFTAs and receiving Academy Award nominations. Review aggregator Rotten Tomatoes gives the film a score of 94% based on reviews from 297 critics; the film's average rating was calculated as 8.60/10. The website's critical consensus reads: "Colin Firth gives a masterful performance in "The King's Speech", a predictable but stylishly produced and rousing period drama." Metacritic gave the film a weighted score of 88/100, based on 41 critical reviews, which indicates "universal acclaim". CinemaScore reported that audiences gave the film a rare "A+" grade. "Empire" gave the film five stars out of five, commenting, "You'll be lost for words." Lisa Kennedy of "The Denver Post" gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king – and the rest of us", she said. Roger Ebert of the "Chicago Sun-Times" awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one." Peter Bradshaw of "The Guardian" gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie ... is a massively confident crowd-pleaser."


title: The King's Speech

text: Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions. "With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote. "The Daily Telegraph" called Guy Pearce's performance as Edward VIII "formidable ... with glamour, charisma and utter self-absorption". "Empire" said he played the role well as "a flash harry flinty enough to shed a nation for a wife." "The New York Times" thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes". Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent. Richard Corliss of "Time" magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010.


title: The King's Speech

text: The British Stammering Association welcomed the release of "The King's Speech", congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis." It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate." The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release.


title: The King's Speech

text: Allociné, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews. "Le Monde", which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter. It said that, though the film swept British appeasement under the carpet, it was still enjoyable.


title: The King's Speech

text: Slovenian Marxist philosopher and cultural critic Slavoj Žižek has incorporated the film into his critique of ideology by describing it as "reactionary," interpreting the king's stutter as evidence that he "displays a minimum of common sense, experiencing the stupidity of seriously accepting that one is king by divine will" and claiming that "the task of the Australian voice-coach is to render him stupid enough to accept his being a king as his natural property." Žižek thus interprets the king's stutter as a case of what is referred to in Lacanian psychoanalysis as "symbolic castration."


title: The King's Speech

text: Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010. "The Sun" newspaper reported she had watched the film in a private screening at Sandringham House. A palace source described her reaction as being "touched by a moving portrayal of her father". Seidler called the reports "the highest honour" the film could receive.


title: The King's Speech

text: At the 83rd Academy Awards, "The King's Speech" won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler). The film had received 12 Oscar nominations, more than any other film in that year. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scène: Art Direction and Costumes.


title: The King's Speech

text: At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat. The film had been nominated for 14 BAFTAs, more than any other film. At the 68th Golden Globe Awards, Firth won for Best Actor. The film won no other Golden Globes, despite earning seven nominations, more than any other film.


title: The King's Speech

text: At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening. Hooper won the Directors Guild of America Awards 2010 for Best Director. The film won the Darryl F. Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010.


title: The King's Speech

text: "The King's Speech" won the People's Choice Award at the 2010 Toronto International Film Festival, Best British Independent Film at the 2010 British Independent Film Awards, and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science).


title: Gabriel García Márquez

text: Gabriel José de la Concordia García Márquez (; 6 March 1927 – 17 April 2014) was a Colombian novelist, short-story writer, screenwriter, and journalist, known affectionately as Gabo () or Gabito () throughout Latin America. Considered one of the most significant authors of the 20th century, particularly in the Spanish language, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature. He pursued a self-directed education that resulted in leaving law school for a career in journalism. From early on he showed no inhibitions in his criticism of Colombian and foreign politics. In 1958, he married Mercedes Barcha Pardo; they had two sons, Rodrigo and Gonzalo.


title: Gabriel García Márquez

text: García Márquez started as a journalist and wrote many acclaimed non-fiction works and short stories, but is best known for his novels, such as "One Hundred Years of Solitude" (1967), "Chronicle of a Death Foretold" (1981), and "Love in the Time of Cholera" (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style known as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations. Some of his works are set in the fictional village of Macondo (mainly inspired by his birthplace, Aracataca), and most of them explore the theme of solitude.


title: Gabriel García Márquez

text: Upon García Márquez's death in April 2014, Juan Manuel Santos, the president of Colombia, called him "the greatest Colombian who ever lived."


title: Gabriel García Márquez

text: Gabriel García Márquez was born on 6 March 1927 in Aracataca, Colombia, to Gabriel Eligio García and Luisa Santiaga Márquez Iguarán. Soon after García Márquez was born, his father became a pharmacist and moved, with his wife, to Barranquilla, leaving young Gabriel in Aracataca. He was raised by his maternal grandparents, Doña Tranquilina Iguarán and Colonel Nicolás Ricardo Márquez Mejía. In December 1936 his father took him and his brother to Sincé, while in March 1937 his grandfather died; the family then moved first (back) to Barranquilla and then on to Sucre, where his father started a pharmacy.


title: Gabriel García Márquez

text: When his parents fell in love, their relationship met with resistance from Luisa Santiaga Márquez's father, the Colonel. Gabriel Eligio García was not the man the Colonel had envisioned winning the heart of his daughter: Gabriel Eligio was a Conservative, and had the reputation of being a womanizer. Gabriel Eligio wooed Luisa with violin serenades, love poems, countless letters, and even telephone messages after her father sent her away with the intention of separating the young couple. Her parents tried everything to get rid of the man, but he kept coming back, and it was obvious their daughter was committed to him. Her family finally capitulated and gave her permission to marry him (The tragicomic story of their courtship would later be adapted and recast as "Love in the Time of Cholera".)


title: Gabriel García Márquez

text: Since García Márquez's parents were more or less strangers to him for the first few years of his life, his grandparents influenced his early development very strongly. His grandfather, whom he called "Papalelo", was a Liberal veteran of the Thousand Days War. The Colonel was considered a hero by Colombian Liberals and was highly respected. He was well known for his refusal to remain silent about the banana massacres that took place the year after García Márquez was born. The Colonel, whom García Márquez described as his "umbilical cord with history and reality," was also an excellent storyteller. He taught García Márquez lessons from the dictionary, took him to the circus each year, and was the first to introduce his grandson to ice—a "miracle" found at the United Fruit Company store. He would also occasionally tell his young grandson "You can't imagine how much a dead man weighs", reminding him that there was no greater burden than to have killed a man, a lesson that García Márquez would later integrate into his novels.


title: Gabriel García Márquez

text: García Márquez's grandmother, Doña Tranquilina Iguarán Cotes, played an influential role in his upbringing. He was inspired by the way she "treated the extraordinary as something perfectly natural." The house was filled with stories of ghosts and premonitions, omens and portents, all of which were studiously ignored by her husband. According to García Márquez she was "the source of the magical, superstitious and supernatural view of reality". He enjoyed his grandmother's unique way of telling stories. No matter how fantastic or improbable her statements, she always delivered them as if they were the irrefutable truth. It was a deadpan style that, some thirty years later, heavily influenced her grandson's most popular novel, "One Hundred Years of Solitude".


title: Gabriel García Márquez

text: After arriving at Sucre, it was decided that García Márquez should start his formal education and he was sent to an internship in Barranquilla, a port on the mouth of the Río Magdalena. There, he gained a reputation of being a timid boy who wrote humorous poems and drew humorous comic strips. Serious and little interested in athletic activities, he was called "El Viejo" by his classmates.


title: Gabriel García Márquez

text: García Márquez spent his first years of high school, from 1940, in the Colegio jesuita San José (today Instituto San José), where he published his first poems in the school magazine "Juventud". Later, thanks to a scholarship given to him by the government, Gabriel was sent to study in Bogotá, then was relocated to the Liceo Nacional de Zipaquirá, a town one hour away from the capital, where he would finish his secondary studies.


title: Gabriel García Márquez

text: During his time at the Bogotá study house, he excelled in various sports, becoming team captain of the Liceo Nacional Zipaquirá team in three disciplines: soccer, baseball, and track.


title: Gabriel García Márquez

text: After his graduation in 1947, García Márquez stayed in Bogotá to study law at the Universidad Nacional de Colombia, but spent most of his spare time reading fiction. "La metamorfosis" by Franz Kafka, particularly in the false translation of Jorge Luis Borges, was a work that especially inspired him. He was excited by the idea of writing, not traditional literature, but in a style similar to his grandmother's stories, in which she "inserted extraordinary events and anomalies as if they were simply an aspect of everyday life." His desire to be a writer grew. A little later he published his first work, "La tercera resignación," which appeared in the 13 September 1947 edition of the newspaper "El Espectador".


title: Gabriel García Márquez

text: Though his passion was writing, he continued with law in 1948 to please his father. After the "Bogotazo" riots on 9 April following the assassination of popular leader Jorge Eliécer Gaitán, the university closed indefinitely and his boarding house was burned. García Márquez transferred to the Universidad de Cartagena and began working as a reporter of "El Universal". In 1950 he ended his legal studies to focus on journalism and moved again to Barranquilla to work as a columnist and reporter in the newspaper "El Heraldo". Though García Márquez never finished his higher studies, some universities, including Columbia University in the City of New York, have given him an honorary doctorate in writing.


title: Gabriel García Márquez

text: García Márquez began his career as a journalist while studying law at the National University of Colombia. In 1948 and 1949 he wrote for "El Universal" in Cartagena. From 1950 until 1952 he wrote a "whimsical" column under the name of ""Septimus"" for the local paper "El Heraldo" in Barranquilla. García Márquez noted of his time at "El Heraldo", "I'd write a piece and they'd pay me three pesos for it, and maybe an editorial for another three." During this time he became an active member of the informal group of writers and journalists known as the Barranquilla Group, an association that provided great motivation and inspiration for his literary career. He worked with inspirational figures such as Ramon Vinyes, whom García Márquez depicted as an Old Catalan who owns a bookstore in "One Hundred Years of Solitude". At this time, García Márquez was also introduced to the works of writers such as Virginia Woolf and William Faulkner. Faulkner's narrative techniques, historical themes and use of rural locations influenced many Latin American authors. The environment of Barranquilla gave García Márquez a world-class literary education and a unique perspective on Caribbean culture. From 1954 to 1955, García Márquez spent time in Bogotá and regularly wrote for Bogotá's "El Espectador". He was a regular film critic.


title: Gabriel García Márquez

text: In December 1957 García Márquez accepted a position in Caracas with the magazine "Momento" directed by his friend Plinio Apuleyo Mendoza. He arrived in the Venezuelan capital on 23 December 1957, and began working right away at "Momento". García Márquez also witnessed the 1958 Venezuelan coup d'état, leading to the exile of the president Marcos Pérez Jiménez. Following this event, García Márquez wrote an article, "The participation of the clergy in the struggle", describing the Church of Venezuela's opposition against Jiménez's regime. In March 1958 he made a trip to Colombia, where he married Mercedes Barcha and together they returned to Caracas. In May 1958, disagreeing with the owner of "Momento", he resigned and became shortly afterwards editor of the newspaper "Venezuela Gráfica".


title: Gabriel García Márquez

text: García Márquez was a "committed leftist" throughout his life, adhering to socialist beliefs. In 1991 he published "Changing the History of Africa", an admiring study of Cuban activities in the Angolan Civil War and the larger South African Border War. He maintained a close but "nuanced" friendship with Fidel Castro, praising the achievements of the Cuban Revolution but criticizing aspects of governance and working to "soften [the] roughest edges" of the country. García Márquez's political and ideological views were shaped by his grandfather's stories. In an interview, García Márquez told his friend Plinio Apuleyo Mendoza, "my grandfather the Colonel was a Liberal. My political ideas probably came from him to begin with because, instead of telling me fairy tales when I was young, he would regale me with horrifying accounts of the last civil war that free-thinkers and anti-clerics waged against the Conservative government." This influenced his political views and his literary technique so that "in the same way that his writing career initially took shape in conscious opposition to the Colombian literary status quo, García Márquez's socialist and anti-imperialist views are in principled opposition to the global status quo dominated by the United States."


title: Gabriel García Márquez

text: Ending in controversy, his last domestically written editorial for "El Espectador" was a series of 14 news articles in which he revealed the hidden story of how a Colombian Navy vessel's shipwreck "occurred because the boat contained a badly stowed cargo of contraband goods that broke loose on the deck."


title: Gabriel García Márquez

text: García Márquez compiled this story through interviews with a young sailor who survived the wreck. The articles resulted in public controversy, as they discredited the official account of the events, which had blamed a storm for the shipwreck and glorified the surviving sailor.


title: Gabriel García Márquez

text: In response to this controversy "El Espectador" sent García Márquez away to Europe to be a foreign correspondent. He wrote about his experiences for "El Independiente", a newspaper that briefly replaced "El Espectador" during the military government of General Gustavo Rojas Pinilla and was later shut down by Colombian authorities. García Márquez's background in journalism provided a foundational base for his writing career. Literary critic Bell-Villada noted, "Owing to his hands-on experiences in journalism, García Márquez is, of all the great living authors, the one who is closest to everyday reality."


title: Gabriel García Márquez

text: García Márquez was one of the original founders of QAP, a Colombian newscast that aired between 1992 and 1997. He was attracted to the project by the promise of editorial and journalistic independence.


title: Gabriel García Márquez

text: García Márquez met Mercedes Barcha while she was at school; he was 12 and she was 9. When he was sent to Europe as a foreign correspondent, Mercedes waited for him to return to Barranquilla. Finally, they married in 1958. The following year, their first son, Rodrigo García, now a television and film director, was born. In 1961, the family traveled by Greyhound bus throughout the southern United States and eventually settled in Mexico City. García Márquez had always wanted to see the Southern United States because it inspired the writings of William Faulkner. Three years later, the couple's second son, Gonzalo García, was born in Mexico. Gonzalo is currently a graphic designer in Mexico City.


title: Gabriel García Márquez

text: In January 2022, it was reported that García Márquez had a daughter, Indira Cato, from an extramarital affair with Mexican writer Susana Cato in the early 1990s. Indira is a documentary producer in Mexico City.


title: Gabriel García Márquez

text: "Leaf Storm" ("La Hojarasca") is García Márquez's first novella and took seven years to find a publisher, finally being published in 1955. García Márquez notes that "of all that he had written (as of 1973), "Leaf Storm" was his favorite because he felt that it was the most sincere and spontaneous." All the events of the novella take place in one room, during a half-hour period on Wednesday 12 September 1928. It is the story of an old colonel (similar to García Márquez's own grandfather) who tries to give a proper Christian burial to an unpopular French doctor. The colonel is supported only by his daughter and grandson. The novella explores the child's first experience with death by following his stream of consciousness. The book also reveals the perspective of Isabel, the Colonel's daughter, which provides a feminine point of view.


title: Gabriel García Márquez

text: "In Evil Hour" ("La mala hora"), García Márquez's second novel, was published in 1962. The novel was originally entitled "Este pueblo de mierda" (“This Town of Shit” or “This Shitty Town”). Some of the characters and situations found in "In Evil Hour" re-appear in "One Hundred Years of Solitude".


title: Gabriel García Márquez

text: From when he was 18, García Márquez had wanted to write a novel based on his grandparents' house where he grew up. However, he struggled with finding an appropriate tone and put off the idea until one day the answer hit him while driving his family to Acapulco. He turned the car around and the family returned home so he could begin writing. He sold his car so his family would have money to live on while he wrote. Writing the novel took far longer than he expected; he wrote every day for 18 months. His wife had to ask for food on credit from their butcher and baker as well as nine months of rent on credit from their landlord. During the 18 months of writing, García Márquez met with two couples, Eran Carmen and Álvaro Mutis, and María Luisa Elío and Jomí García Ascot, every night and discussed the progress of the novel, trying out different versions. When the book was published in 1967, it became his most commercially successful novel, "One Hundred Years of Solitude" ("Cien años de soledad"; English translation by Gregory Rabassa, 1970), selling over 50 million copies. The book was dedicated "Para (to) Jomí García Ascot y María Luisa Elío." The story chronicles several generations of the Buendía family from the time they founded the fictional South American village of Macondo, through their trials and tribulations, and instances of incest, births, and deaths. The history of Macondo is often generalized by critics to represent rural towns throughout Latin America or at least near García Márquez's native Aracataca.


title: Gabriel García Márquez

text: The novel was widely popular and led to García Márquez's Nobel Prize as well as the Rómulo Gallegos Prize in 1972. William Kennedy has called it "the first piece of literature since the Book of Genesis that should be required reading for the entire human race," and hundreds of articles and books of literary critique have been published in response to it. Despite the many accolades the book received, García Márquez tended to downplay its success. He once remarked: "Most critics don't realize that a novel like "One Hundred Years of Solitude" is a bit of a joke, full of signals to close friends, and so, with some pre-ordained right to pontificate they take on the responsibility of decoding the book and risk making terrible fools of themselves."


title: Gabriel García Márquez

text: After writing "One Hundred Years of Solitude" García Márquez returned to Europe, this time bringing along his family, to live in Barcelona, Spain, for seven years. The international recognition García Márquez earned with the publication of the novel led to his ability to act as a facilitator in several negotiations between the Colombian government and the guerrillas, including the former 19th of April Movement (M-19), and the current FARC and ELN organizations. The popularity of his writing also led to friendships with powerful leaders, including one with former Cuban president Fidel Castro, which has been analyzed in "Gabo and Fidel: Portrait of a Friendship." It was during this time that he was punched in the face by Mario Vargas Llosa in what became one of the largest feuds in modern literature. In an interview with Claudia Dreifus in 1982 García Márquez noted his relationship with Castro was mostly based on literature: "Ours is an intellectual friendship. It may not be widely known that Fidel is a very cultured man. When we’re together, we talk a great deal about literature." This relationship was criticized by Cuban exile writer Reinaldo Arenas, in his 1992 memoir "Antes de que Anochezca" ("Before Night Falls").


title: Gabriel García Márquez

text: Due to his newfound fame and his outspoken views on US imperialism, García Márquez was labeled as a subversive and for many years was denied visas by US immigration authorities. After Bill Clinton was elected US president, he lifted the travel ban and cited "One Hundred Years of Solitude" as his favorite novel.


title: Gabriel García Márquez

text: García Márquez was inspired to write a dictator novel when he witnessed the flight of Venezuelan dictator Marcos Pérez Jiménez. He said, "it was the first time we had seen a dictator fall in Latin America." García Márquez began writing "Autumn of the Patriarch" ("El otoño del patriarca") in 1968 and said it was finished in 1971; however, he continued to embellish the dictator novel until 1975 when it was published in Spain. According to García Márquez, the novel is a "poem on the solitude of power" as it follows the life of an eternal dictator known as the General. The novel is developed through a series of anecdotes related to the life of the General, which do not appear in chronological order. Although the exact location of the story is not pin-pointed in the novel, the imaginary country is situated somewhere in the Caribbean.


title: Gabriel García Márquez

text: My intention was always to make a synthesis of all the Latin American dictators, but especially those from the Caribbean. Nevertheless, the personality of Juan Vicente Gomez [of Venezuela] was so strong, in addition to the fact that he exercised a special fascination over me, that undoubtedly the Patriarch has much more of him than anyone else.


title: Gabriel García Márquez

text: After "Autumn of the Patriarch" was published García Márquez and his family moved from Barcelona to Mexico City and García Márquez pledged not to publish again until the Chilean Dictator Augusto Pinochet was deposed. But he ultimately published "Chronicle of a Death Foretold" while Pinochet was still in power, as he "could not remain silent in the face of injustice and repression."


title: Gabriel García Márquez

text: "The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother" () presents the story of a young mulatto girl who dreams of freedom, but cannot escape the reach of her avaricious grandmother.


title: Gabriel García Márquez

text: The plot of the novella describes the life journey of 14-year-old Eréndira, who is living with her grandmother when she accidentally sets fire to their home. The grandmother forces Eréndira to repay the debt by becoming a prostitute as they travel the road as vagrants. Men line up to enjoy Eréndira's services. She eventually escapes with the assistance of her affectionate and somewhat gullible lover, Ulises, but only after he murders her grandmother. After the murder, Eréndira runs off into the night alone, leaving him in the tent with the dead body of her grandmother.


title: Gabriel García Márquez

text: Eréndira and her grandmother make an appearance in "One Hundred Years of Solitude", an earlier novel by García Márquez.


title: Gabriel García Márquez

text: "The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother" was published in 1972. The novella was adapted to the 1983 art film "Eréndira", directed by Ruy Guerra.


title: Gabriel García Márquez

text: "Chronicle of a Death Foretold" ("Crónica de una muerte anunciada"), which literary critic Ruben Pelayo called a combination of journalism, realism and detective story, is inspired by a real-life murder that took place in Sucre, Colombia, in 1951, but García Márquez maintained that nothing of the actual events remains beyond the point of departure and the structure. The character of Santiago Nasar is based on a good friend from García Márquez's childhood, Cayetano Gentile Chimento.


title: Gabriel García Márquez

text: The plot of the novel revolves around Santiago Nasar's murder. The narrator acts as a detective, uncovering the events of the murder as the novel proceeds. Pelayo notes that the story "unfolds in an inverted fashion. Instead of moving forward... the plot moves backward."


title: Gabriel García Márquez

text: "Chronicle of a Death Foretold" was published in 1981, the year before García Márquez was awarded the 1982 Nobel Prize in Literature. The novel was also adapted into a film by Italian director Francesco Rosi in 1987.


title: Gabriel García Márquez

text: "Love in the Time of Cholera" ("El amor en los tiempos del cólera") was first published in 1985. It is considered a non-traditional love story as "lovers find love in their 'golden years'—in their seventies, when death is all around them".


title: Gabriel García Márquez

text: "Love in the Time of Cholera" is based on the stories of two couples. The young love of Fermina Daza and Florentino Ariza is based on the love affair of García Márquez's parents. But as García Márquez explained in an interview: "The only difference is [my parents] married. And as soon as they were married, they were no longer interesting as literary figures." The love of old people is based on a newspaper story about the death of two Americans, who were almost 80 years old, who met every year in Acapulco. They were out in a boat one day and were murdered by the boatman with his oars. García Márquez notes, "Through their death, the story of their secret romance became known. I was fascinated by them. They were each married to other people."


title: Gabriel García Márquez

text: "News of a Kidnapping" ("Noticia de un secuestro") was first published in 1996. It is a non-fiction book that examines a series of related kidnappings and narcoterrorist actions committed in the early 1990s in Colombia by the Medellín Cartel, a drug cartel founded and operated by Pablo Escobar. The text recounts the kidnapping, imprisonment, and eventual release of prominent figures in Colombia, including politicians and members of the press.


title: Gabriel García Márquez

text: The original idea of the book was proposed to García Márquez by the former minister for education Maruja Pachón Castro and Colombian diplomat Luis Alberto Villamizar Cárdenas, both of whom were among the many victims of Pablo Escobar's attempt to pressure the government to stop his extradition by committing a series of kidnappings, murders and terrorist actions.


title: Gabriel García Márquez

text: In 2002 García Márquez published the memoir "Vivir para contarla", the first of a projected three-volume autobiography. Edith Grossman's English translation, "Living to Tell the Tale", was published in November 2003. October 2004 brought the publication of a novel, "Memories of My Melancholy Whores" ("Memoria de mis putas tristes"), a love story that follows the romance of a 90-year-old man and a child forced into prostitution. "Memories of My Melancholy Whores" caused controversy in Iran, where it was banned after an initial 5,000 copies were printed and sold.


title: Gabriel García Márquez

text: Critics often describe the language that García Márquez's imagination produces as visual or graphic, and he himself explains each of his stories is inspired by "a visual image," so it comes as no surprise that he had a long and involved history with film. He was a film critic, he founded and served as executive director of the Film Institute in Havana, was the head of the Latin American Film Foundation, and wrote several screenplays. For his first script he worked with Carlos Fuentes on Juan Rulfo's "El gallo de oro". His other screenplays include the films "Tiempo de morir" (1966), (1985) and "Un señor muy viejo con unas alas enormes" (1988), as well as the television series "Amores difíciles" (1991).


title: Gabriel García Márquez

text: García Márquez also originally wrote his "Eréndira" as a third screenplay. However, this version was lost and replaced by the novella. Nonetheless, he worked on rewriting the script in collaboration with Ruy Guerra and the film was released in Mexico in 1983.


title: Gabriel García Márquez

text: Several of his stories have inspired other writers and directors. In 1987, the Italian director Francesco Rosi directed the movie "Cronaca di una morte annunciata" based on "Chronicle of a Death Foretold". Several film adaptations have been made in Mexico, including Miguel Littín's "La Viuda de Montiel" (1979), Jaime Humberto Hermosillo's "Maria de mi corazón" (1979), and Arturo Ripstein's "El coronel no tiene quien le escriba" (1998).


title: Gabriel García Márquez

text: British director Mike Newell ("Four Weddings and a Funeral") filmed "Love in the Time of Cholera" in Cartagena, Colombia, with the screenplay written by Ronald Harwood ("The Pianist"). The film was released in the U.S. on 16 November 2007.


title: Gabriel García Márquez

text: His novel "Of Love and Other Demons" was adapted and directed by a Costa Rican filmmaker, Hilda Hidalgo, who is a graduate of the Film Institute at Havana where García Márquez would frequently impart screenplay workshops. Hidalgo's film was released in April 2010. The same novel was adapted by Hungarian composer Péter Eötvös to form the opera "Love and Other Demons", premiered in 2008 at Glyndebourne Festival.


title: Gabriel García Márquez

text: In 1999 García Márquez was misdiagnosed with pneumonia instead of lymphatic cancer. Chemotherapy at a hospital in Los Angeles proved to be successful, and the illness went into remission. This event prompted García Márquez to begin writing his memoirs: "I reduced relations with my friends to a minimum, disconnected the telephone, canceled the trips and all sorts of current and future plans", he told "El Tiempo", the Colombian newspaper, "and locked myself in to write every day without interruption." In 2002, three years later, he published "Living to Tell the Tale" ("Vivir para Contarla"), the first volume in a projected trilogy of memoirs.


title: Gabriel García Márquez

text: In 2000 his impending death was incorrectly reported by Peruvian daily newspaper "La República". The next day other newspapers republished his alleged farewell poem, "La Marioneta," but shortly afterward García Márquez denied being the author of the poem, which was determined to be the work of a Mexican ventriloquist.


title: Gabriel García Márquez

text: He stated that 2005 "was the first [year] in my life in which I haven't written even a line. With my experience, I could write a new novel without any problems, but people would realise my heart wasn't in it."


title: Gabriel García Márquez

text: In May 2008 it was announced that García Márquez was finishing a new "novel of love" that had yet to be given a title, to be published by the end of the year. However, in April 2009 his agent, Carmen Balcells, told the Chilean newspaper "La Tercera" that García Márquez was unlikely to write again. This was disputed by Random House Mondadori editor Cristobal Pera, who stated that García Márquez was completing a new novel called "We'll Meet in August" ("En agosto nos vemos").


title: Gabriel García Márquez

text: In December 2008 García Márquez told fans at the Guadalajara book fair that writing had worn him out. In 2009, responding to claims by both his literary agent and his biographer that his writing career was over, he told Colombian newspaper "El Tiempo": "Not only is it not true, but the only thing I do is write".


title: Gabriel García Márquez

text: In April 2014, García Márquez was hospitalized in Mexico. He had infections in his lungs and his urinary tract, and was suffering from dehydration. He was responding well to antibiotics. Mexican president Enrique Peña Nieto wrote on Twitter, "I wish him a speedy recovery". Colombian president Juan Manuel Santos said his country was thinking of the author and said in a tweet: "All of Colombia wishes a speedy recovery to the greatest of all time: Gabriel García Márquez."


title: Gabriel García Márquez

text: García Márquez died of pneumonia at the age of 87 on 17 April 2014, in Mexico City. His death was confirmed by Fernanda Familiar on Twitter, and by his former editor Cristóbal Pera.


title: Gabriel García Márquez

text: The Colombian president Juan Manuel Santos mentioned: "One Hundred Years of Solitude and sadness for the death of the greatest Colombian of all time". The former Colombian president Álvaro Uribe Vélez said: "Master García Márquez, thanks forever, millions of people in the planet fell in love with our nation fascinated with your lines." At the time of his death, García Márquez had a wife and two sons.


title: Gabriel García Márquez

text: García Márquez was cremated at a private family ceremony in Mexico City. On 22 April the presidents of Colombia and Mexico attended a formal ceremony in Mexico City, where García Márquez had lived for more than three decades. A funeral cortege took the urn containing his ashes from his house to the Palacio de Bellas Artes, where the memorial ceremony was held. Earlier, residents in his home town of Aracataca in Colombia's Caribbean region held a symbolic funeral. In February 2015, the heirs of Gabriel García Marquez deposited a legacy of the writer in his Memoriam in the Caja de las Letras of the Instituto Cervantes.


title: Gabriel García Márquez

text: In every book I try to make a different path ... . One doesn't choose the style. You can investigate and try to discover what the best style would be for a theme. But the style is determined by the subject, by the mood of the times. If you try to use something that is not suitable, it just won't work. Then the critics build theories around that and they see things I hadn't seen. I only respond to our way of life, the life of the Caribbean.


title: Gabriel García Márquez

text: García Márquez was noted for leaving out seemingly important details and events so the reader is forced into a more participatory role in the story development. For example, in "No One Writes to the Colonel", the main characters are not given names. This practice is influenced by Greek tragedies, such as "Antigone" and "Oedipus Rex", in which important events occur off-stage and are left to the audience's imagination.


title: Gabriel García Márquez

text: Reality is an important theme in all of García Márquez's works. He said of his early works (with the exception of "Leaf Storm"), "'"Nobody Writes to the Colonel"', '"In Evil Hour"', and "'Big Mama's Funeral"' all reflect the reality of life in Colombia and this theme determines the rational structure of the books. I don't regret having written them, but they belong to a kind of premeditated literature that offers too static and exclusive a vision of reality."


title: Gabriel García Márquez

text: In his other works he experimented more with less traditional approaches to reality, so that "the most frightful, the most unusual things are told with the deadpan expression". A commonly cited example is the physical and spiritual ascending into heaven of a character while she is hanging the laundry out to dry in "One Hundred Years of Solitude." The style of these works fits in the "marvellous realm" described by the Cuban writer Alejo Carpentier and was labeled as magical realism. Literary critic Michael Bell proposes an alternative understanding for García Márquez's style, as the category magic realism is criticized for being dichotomizing and exoticizing, "what is really at stake is a psychological suppleness which is able to inhabit unsentimentally the daytime world while remaining open to the promptings of those domains which modern culture has, by its own inner logic, necessarily marginalised or repressed." García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a similar way,


title: Gabriel García Márquez

text: The way you treat reality in your books ... has been called magical realism. I have the feeling your European readers are usually aware of the magic of your stories but fail to see the reality behind it ... This is surely because their rationalism prevents them seeing that reality isn't limited to the price of tomatoes and eggs.


title: Gabriel García Márquez

text: The theme of solitude runs through much of García Márquez's works. As Pelayo notes, ""Love in the Time of Cholera", like all of Gabriel García Márquez's work, explores the solitude of the individual and of humankind...portrayed through the solitude of love and of being in love".


title: Gabriel García Márquez

text: In response to Plinio Apuleyo Mendoza's question, "If solitude is the theme of all your books, where should we look for the roots of this over-riding emotion? In your childhood perhaps?" García Márquez replied, "I think it's a problem everybody has. Everyone has his own way and means of expressing it. The feeling pervades the work of so many writers, although some of them may express it unconsciously."


title: Gabriel García Márquez

text: In his Nobel Prize acceptance speech, "Solitude of Latin America", he relates this theme of solitude to the Latin American experience, "The interpretation of our reality through patterns not our own, serves only to make us ever more unknown, ever less free, ever more solitary."


title: Gabriel García Márquez

text: Another important theme in many of García Márquez's work is the setting of the village he calls Macondo. He uses his home town of Aracataca, Colombia as a cultural, historical and geographical reference to create this imaginary town, but the representation of the village is not limited to this specific area. García Márquez shares, "Macondo is not so much a place as a state of mind, which allows you to see what you want, and how you want to see it." Even when his stories do not take place in Macondo, there is often still a consistent lack of specificity to the location. So while they are often set with "a Caribbean coastline and an Andean hinterland... [the settings are] otherwise unspecified, in accordance with García Márquez's evident attempt to capture a more general regional myth rather than give a specific political analysis." This fictional town has become well known in the literary world. As Stavans notes of Macondo, "its geography and inhabitants constantly invoked by teachers, politicians, and tourist agents..." makes it "...hard to believe it is a sheer fabrication." In "Leaf Storm" García Márquez depicts the realities of the "Banana Boom" in Macondo, which include a period of great wealth during the presence of the US companies and a period of depression upon the departure of the American banana companies. As well, "One Hundred Years of Solitude" takes place in Macondo and tells the complete history of the fictional town from its founding to its doom.


title: Gabriel García Márquez

text: In his autobiography, García Márquez explains his fascination with the word and concept Macondo. He describes a trip he made with his mother back to Aracataca as a young man:


title: Gabriel García Márquez

text: The train stopped at a station that had no town, and a short while later it passed the only banana plantation along the route that had its name written over the gate: "Macondo". This word had attracted my attention ever since the first trips I had made with my grandfather, but I discovered only as an adult that I liked its poetic resonance. I never heard anyone say it and did not even ask myself what it meant...I happened to read in an encyclopedia that it is a tropical tree resembling the Ceiba.


title: Gabriel García Márquez

text: In several of García Márquez's works, including "No One Writes to the Colonel", "In Evil Hour", and "Leaf Storm", he referenced "La Violencia" (the violence), "a brutal civil war between conservatives and liberals that lasted into the 1960s, causing the deaths of several hundred thousand Colombians". Throughout all of his novels there are subtle references to "la violencia". For example, characters live under various unjust situations like curfew, press censorship, and underground newspapers. "In Evil Hour", while not one of García Márquez's most famous novels, is notable for its portrayal of "la violencia" with its "fragmented portrayal of social disintegration provoked by "la violencia"". Although García Márquez did portray the corrupt nature and the injustices of times like "la violencia", he refused to use his work as a platform for political propaganda. "For him, the duty of the revolutionary writer is to write well, and the ideal novel is one that moves its reader by its political and social content, and, at the same time, by its power to penetrate reality and expose its other side.


title: Gabriel García Márquez

text: García Márquez's work is an important part of the Latin American Boom of literature, often defined around his works, and those of Julio Cortázar, Carlos Fuentes, and Mario Vargas Llosa. His work has challenged critics of Colombian literature to step out of the conservative criticism that had been dominant before the success of "One Hundred Years of Solitude". In a review of literary criticism Robert Sims notes,


title: Gabriel García Márquez

text: Following his death, García Márquez's family made the decision to deposit his papers and some of his personal effects at The University of Texas at Austin's Harry Ransom Center, a humanities research library and museum.


title: Gabriel García Márquez

text: García Márquez received the Nobel Prize in Literature on 10 December 1982 "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts". His acceptance speech was entitled "The Solitude of Latin America". García Márquez was the first Colombian and fourth Latin American to win a Nobel Prize for Literature. After becoming a Nobel laureate, García Márquez stated to a correspondent: "I have the impression that in giving me the prize, they have taken into account the literature of the sub-continent and have awarded me as a way of awarding all of this literature".


title: 2021–22 UEFA Europa Conference League

text: The 2021–22 UEFA Europa Conference League was the inaugural season of the UEFA Europa Conference League, Europe's tertiary club football tournament organised by UEFA.


title: 2021–22 UEFA Europa Conference League

text: The final was played at the Arena Kombëtare in Tirana, Albania, with Roma defeating Feyenoord 1–0. As winners, Roma automatically qualified for the 2022–23 UEFA Europa League group stage, although they had already done so through their league position.


title: 2021–22 UEFA Europa Conference League

text: This season was the first since 1999–2000 (the first season after the dissolution of the UEFA Cup Winners' Cup) where three major European club competitions (UEFA Champions League, UEFA Europa League, and UEFA Europa Conference League) took place.


title: 2021–22 UEFA Europa Conference League

text: On 24 June 2021, UEFA approved the proposal to abolish the away goals rule in all UEFA club competitions, which had been used since 1965. Therefore, if in a two-legged tie, two teams scored the same number of aggregate goals, the winner was not decided by the number of away goals scored by each team, but always by 30 minutes of extra time, and if the two teams scored the same amount of goals in extra time, the winner was decided by a penalty shoot-out.


title: 2021–22 UEFA Europa Conference League

text: A total of 181 teams from 54 of the 55 UEFA member associations participated in the 2021–22 UEFA Europa Conference League (the exception being Spain, as none of their teams finished third in the Europa League group stage). The association ranking based on the UEFA country coefficients was used to determine the number of participating teams for each association:


title: 2021–22 UEFA Europa Conference League

text: For the 2021–22 UEFA Europa Conference League, the associations were allocated places according to their 2020 UEFA country coefficients, which took into account their performance in European competitions from 2015–16 to 2019–20.


title: 2021–22 UEFA Europa Conference League

text: Apart from the allocation based on the country coefficients, associations could have additional teams participating in the Europa Conference League, as noted below:


title: 2021–22 UEFA Europa Conference League

text: The following is the access list for this season. In the default access list, the title holders of the Europa Conference League qualify for the Europa League group stage. However, since this berth was vacant this season, the following changes to the access list were made: