Mural Garcia Marquez in Aracataca. Son of Gabriel Eligio Garc a and Luisa Santiago Marquez Iguaran born in Aracataca, in the coastal department of Magdalena, Colombia, Sunday, March 6, 1927 (although some sources insist on 1928 as year of birth, when in 2007 celebrated its 80 years and 40 years of One Hundred Years of Solitude). Shortly after his birth, his father became a pharmacist. In January 1929, his parents moved to Barranquilla. He was raised by his maternal grandparents, Colonel Nicol s M rquez and Tranquilina Iguaran in Aracataca. In 1936 when I was eight, his grandfather died and he moved to Barranquilla where his father was a pharmacist. When her parents fell in love, objected to their relationship Luisa’s father, Colonel. Gabriel Eligio Garcia was not the man the Colonel had planned to win the heart of his daughter: He (Gabriel Eligio) is a conservative, and had a reputation as a womanizer.Gabriel Eligio Luisa gave her violin serenades, love poems, countless letters, and even after the telegraph messages. His father sent out of town with the intention to separate the young couple. They tried everything to get rid of man. His family eventually capitulated and gave him permission to marry Gabriel Eligio. (The tragicomedy of their courtship would later be adapted and recast as Love in the Time of Cholera, written by his son.) As Garc a M rquez’s parents were more or less alien to him during the early years of his life, his grandparents was a strong influence. His grandfather, whom he called “Papalelo”, was a Liberal of the War of the Thousand Days. The colonel was considered a hero by the Liberals in Colombia and was highly respected. He was well known for its refusal to remain silent on the Slaughter of the banana that killed hundreds of people at the hands of the Armed Forces of Colombia, Garcia Marquez made that would reflect in his work.The colonel, whom Garcia Marquez has described as its “umbilical cord with the history and reality” was also an excellent storyteller. She taught lessons to Garcia Marquez, for example, reading the dictionary. He carried the circus each year, and was first introduced to his grandson in the “miracle” of ice that was in store for the United Fruit Company. Also occasionally told his young grandson: “You can imagine the amount of dead weight,” reminding that there was no burden of having killed a man, a lesson that Garc a M rquez, later , integrate in his novels. Garcia Marquez was heavily influenced by politics and ideology by the stories of his grandfather. In an interview, Garcia Marquez told his friend Pliny, Apuleius: “My grandfather was a liberal Colonel.My political views probably came from to start with him, because instead of fairy tales when I was a child, he gave me terrible stories of the last civil war between the liberals and the conservative government. “This influenced his political opinions and his literary work the same way that his writing career initially took the form of consciousness as opposed to the literary situation in Colombia. Garc a M rquez, socialist and anti-imperialist, expressed his opinion in opposition to the current world situation dominated by the United States. Garcia Marquez’s grandmother, Dona Tranquilina Iguar n Cotes, also played an influential role in their education. He was inspired by how “extraordinary treatment as perfectly natural.” The house was full of stories of ghosts and premonitions, omens and signs, all of which were ignored.According to Garcia Marquez, “this was the origin of the magical, superstitious and supernatural view of reality.” He enjoyed his grandmother the only way to tell stories. No matter how fantastic or improbable her statements, always delivered as if they were the irrefutable truth. It is a style that, some thirty years later, his grandson would follow in his most popular novel, One Hundred Years of Solitude. His childhood is recounted in his memoirs, Living to Tell. In 2007 he returned to Aracataca, after 24 years of absence, for a tribute paid to him by the Colombian government to meet its 80 years of life and 40 of the first publication of One Hundred Years of Solitude.