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One Hundred Years of Solitude

One Hundred Years of Solitude (Cien años de soledad, ) is a 1967 novel by Colombian author Gabriel García Márquez that tells the multi-generational story of the Buendía family, whose patriarch, José Arcadio Buendía, founded the fictitious town of Macondo. The novel is often cited as one of the supreme achievements in world literature.

The magical realist style and thematic substance of One Hundred Years of Solitude established it as an important representative novel of the literary Latin American Boom of the 1960s and 1970s, which was stylistically influenced by Modernism (European and North American) and the Cuban Vanguardia (Avant-Garde) literary movement.

Since it was first published in May 1967 in Buenos Aires by Editorial Sudamericana, One Hundred Years of Solitude has been translated into 46 languages and sold more than 50 million copies. The novel, considered García Márquez's magnum opus, remains widely acclaimed and is recognized as one of the most significant works both in the Hispanic literary canon and in world literature.

Biography and publication
In 1965, Gabriel García Márquez was driving to Acapulco for a vacation with his family when he thought of the beginning for a new book; he then turned his car around, asked his wife to manage the family's finances for the coming months, and drove back home to Colombia. For the next eighteen months, García Márquez spent his time writing what would eventually become One Hundred Years of Solitude. Though inspired by Colombian history and his experiences as a journalist, García Márquez was greatly influenced by his maternal grandparents: Nicolás Ricardo Márquez and Doña Tranquilina Iguarán Cotes. A decorated veteran of the Thousand Days' War, Ricardo Márquez's accounts of the rebellion against the conservative Colombian government led his grandson to a socialist outlook. Meanwhile, Doña Iguarán Cotes' superstitious beliefs became the foundation of One Hundred Years of Solitude's style. The couple's house in Aracataca where García Márquez spent his childhood inspired him to make his book's setting of Macondo.

García Márquez was one of the four Latin American novelists first included in the literary Latin American Boom of the 1960s and 1970s; the other three were the Peruvian Mario Vargas Llosa, the Argentine Julio Cortázar, and the Mexican Carlos Fuentes. One Hundred Years of Solitude (1967) earned García Márquez international fame as a novelist of the magical realism movement within Latin American literature.

Plot
One Hundred Years of Solitude is the story of seven generations of the Buendía Family in the town of Macondo. The founders of Macondo, José Arcadio Buendía and Úrsula Iguarán, leave their hometown in Riohacha, Colombia, after José Arcadio kills Prudencio Aguilar after a cockfight for suggesting José Arcadio was impotent. One night of their emigration journey, while camping on a riverbank, José Arcadio dreams of "Macondo", a city of mirrors that reflected the world in and about it. Upon awakening, he decides to establish Macondo at the riverside; after days of wandering the jungle, his founding of Macondo is utopic.

José Arcadio Buendía believes Macondo to be surrounded by water, and from that island, he invents the world according to his perceptions. Soon after its founding, Macondo became a town frequented by unusual and extraordinary events that involve the generations of the Buendía family, who are unable or unwilling to escape their periodic (mostly self-inflicted) misfortunes. For years the town has been solitary and unconnected to the outside world, with the exception of the annual visit of a band of gypsies, who show the townspeople scientific discoveries such as magnets, telescopes, and ice. The leader of the gypsies, a man named Melquíades, maintains a close friendship with José Arcadio, who becomes increasingly withdrawn, obsessed with investigating the mysteries of the universe presented to him by the gypsies. Ultimately, he is driven insane, speaking only in Latin, and is tied to a chestnut tree by his family for many years until his death.

Eventually Macondo becomes exposed to the outside world and the government of newly independent Colombia. A rigged election between the Conservative and Liberal parties is held in town, inspiring Aureliano Buendía to join a civil war against the Conservative government. He becomes an iconic revolutionary leader, fighting for many years and surviving multiple attempts on his life, but ultimately tires of war and signs a peace treaty with the Conservatives. Disillusioned, he returns to Macondo and spends the rest of his life making tiny gold fish in his workshop.

The railroad comes to Macondo, bringing in new technology and many foreign settlers. An American fruit company establishes a banana plantation outside the town, and builds its own segregated village across the river. This ushers in a period of prosperity that ends in tragedy as the Colombian army massacres thousands of striking plantation workers, an incident based on the Banana Massacre of 1928. José Arcadio Segundo, the only survivor of the massacre, finds no evidence of the massacre, and the surviving townspeople deny or refuse to believe it happened.

By the novel's end, Macondo has fallen into a decrepit and near-abandoned state, with the only remaining Buendías being Amaranta Úrsula and her nephew Aureliano, whose parentage is hidden by his grandmother Fernanda, and he and Amaranta Úrsula unknowingly begin an incestuous relationship. They have a child who bears the tail of a pig, fulfilling the lifelong fear of the long-dead matriarch Úrsula. Amaranta Úrsula dies in childbirth and the child is devoured by ants, leaving Aureliano as the last member of the family. He decodes an encryption Melquíades had left behind in a manuscript generations ago. The secret message informs the recipient of every fortune and misfortune that the Buendía family's generations lived through. As Aureliano reads the manuscript, he feels a windstorm starting around him, and he reads in the document that the Buendía family is doomed to be wiped from the face of the Earth because of it. In the last sentence of the book, the narrator describes Aureliano reading this last line just as the entire town of Macondo is scoured from existence.

Symbolism and metaphors
A dominant theme in One Hundred Years of Solitude is the inevitable and inescapable repetition of history in Macondo. The protagonists are controlled by their pasts and the complexity of time. Throughout the novel the characters are visited by ghosts. "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history", writes Daniel Erickson. "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions."

The fate of Macondo is both doomed and predetermined from its very existence. "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities. The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create."

García Márquez uses colours as symbols. Yellow and gold are the most frequently used and symbolize imperialism and the Spanish Siglo de Oro. Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction.

The glass city is an image that comes to José Arcadio Buendía in a dream. It is the reason for Macondo's location, but also a symbol of its fate. Higgins writes, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history." Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is therefore fated for destruction.

There is an underlying pattern of Latin American history in One Hundred Years of Solitude. It has been said that the novel is one of a number of texts that "Latin American culture has created to understand itself." In this sense, the novel can be conceived as a linear archive that narrates the story of a Latin America discovered by European explorers, which had its historical entity developed by the printing press. The Archive is a symbol of the literature that is the foundation of Latin American history and also a decoding instrument. Melquíades, the keeper of the archive, represents both the whimsical and the literary. Finally, "the world of One Hundred Years of Solitude is a place where beliefs and metaphors become forms of fact, and where more ordinary facts become uncertain."

The use of particular historic events and characters renders One Hundred Years of Solitude an exemplary work of magical realism, wherein the novel compresses decades of cause and effect whilst telling an interesting story.

First generation
José Arcadio Buendía is the patriarch of the Buendía family and the founder of Macondo. Buendía leaves his hometown in Riohacha Municipality, Colombia, along with his wife Úrsula Iguarán after being haunted by the corpse of Prudencio Aguilar (a man Buendía killed in a duel), who constantly bleeds from his wound and tries to wash it. One night while camping at the side of a river, Buendía dreams of a city of mirrors named Macondo and decides to establish the town in this location. José Arcadio Buendía is an introspective and inquisitive man of massive strength and energy who spends more time on his scientific pursuits than with his family. He flirts with alchemy and astronomy and becomes increasingly withdrawn from his family and community. He eventually goes insane and is tied to a chestnut tree until his death.
 * José Arcadio Buendía

Úrsula Iguarán is the matriarch of the Buendía family and is wife and cousin to José Arcadio Buendía. She lives to be well over 100 years old and she oversees the Buendía household through six of the seven generations documented in the novel. She has a business of making candy animals and pastries which she continues until the arrival of Fernanda. She exhibits a very strong character and often succeeds where the men of her family fail, for example finding a route to the outside world from Macondo. She deeply fears her family resuming their incestuous practices as her inbred relatives tended to have animalistic features. From a strong and active matriarch, Úrsula is reduced to a plaything for Amaranta Úrsula and Aureliano in her last years and shrinks to the size of a newborn baby when she finally dies.
 * Úrsula Iguarán

Second generation
José Arcadio Buendía and Úrsula's firstborn child, José Arcadio seems to have inherited his father's headstrong, impulsive mannerisms. He eventually leaves the family after being molested by Pilar Ternera to chase a gypsy girl and unexpectedly returns many years later as an enormous man covered in tattoos, claiming that he has sailed the seas of the world. He marries his adopted sister Rebeca, causing his banishment from the mansion, and he dies from a mysterious gunshot wound, days after saving his brother from execution.
 * José Arcadio

José Arcadio Buendía and Úrsula's second child and the first person to be born in Macondo. He was thought to have premonitions because everything he said came true. He represents not only a warrior figure but also an artist due to his ability to write poetry and create finely crafted golden fish. During the wars he fathered 17 sons by unknown women, all named Aureliano. Four of them later begin to live in Macondo, and in the span of several weeks all of them but one (including those who chose not to remain in Macondo) are murdered by unknown assassins, before any of them had reached thirty-five years of age.
 * Colonel Aureliano Buendía

José Arcadio Buendía and Úrsula's third child, Amaranta grows up as a companion of her adopted sister Rebeca. However, her feelings toward Rebeca turn sour over Pietro Crespi, whom both sisters intensely desired in their teenage years. Amaranta does everything she can to prevent Rebeca and Pietro marrying, even attempting to murder Rebeca. Amaranta dies a lonely and virginal spinster, but comfortable in her existence after having finally accepted what she had become.
 * Amaranta

In her later years, she becomes a caring figure within the Buendía household, particularly showing affection for her nephew, Aureliano José.

Remedios was the youngest daughter of the town's Conservative administrator, Don Apolinar Moscote. Her most striking physical features are her beautiful skin and her emerald-green eyes. The future Colonel Aureliano falls in love with her, despite her extreme youth. She dies shortly after the marriage from a blood poisoning illness during her pregnancy. Until soon before the Colonel's death, her dolls are displayed in his bedroom.
 * Remedios Moscote

Rebeca is the second cousin of Úrsula Iguarán and the orphaned child of Nicanor Ulloa and Rebeca Montiel. At first, she is extremely timid, refuses to speak, and has the habits of eating earth and whitewash from the walls of the house, a condition known as pica. She arrives carrying a canvas bag containing her parents' bones and seems not to understand or speak Spanish. However, she responds to questions asked by Visitación and Cataure in the Guajiro or Wayuu language. She falls in love with and marries her adoptive brother José Arcadio after his return from traveling the world. After his mysterious and untimely death, she lives in seclusion for the rest of her life.
 * Rebeca

Pilar is a local woman who moved to Macondo to escape the man who raped her as a teenager. She sleeps with the brothers Aureliano and José Arcadio. She becomes the mother of their sons, Aureliano José and Arcadio respectively. Pilar reads the future with cards, and every so often makes an accurate, though vague, prediction. She has close ties with the Buendías throughout the whole novel, helping them with her card predictions. She dies some time after she turns 145 years old (she had eventually stopped counting), surviving until the last days of Macondo.
 * Pilar Ternera

She plays an integral part in the plot as she is the link between the second and the third generations of the Buendía family. The author highlights her importance by following her death with a declaratory "it was the end."

Third generation
Arcadio is José Arcadio's illegitimate son with Pilar Ternera, although he never learns about his origins. He is a schoolteacher who assumes leadership of Macondo after Colonel Aureliano Buendía leaves. He becomes a tyrannical dictator and uses his schoolchildren as his personal army and Macondo soon becomes subject to his whims. When the Liberal forces in Macondo fall, Arcadio is shot by a Conservative firing squad.
 * Arcadio

Aureliano José is Colonel Aureliano Buendía's illegitimate son with Pilar Ternera. He joins his father in several wars before deserting to return to Macondo upon hearing that it is possible to marry one's aunt. Aureliano José is obsessed with his aunt, Amaranta, who raised him since birth and molested him as a child, and who rejects the marriage proposal he makes as an adult. He is eventually shot to death by a Conservative captain midway through the wars.
 * Aureliano José

Santa Sofía is a beautiful virgin girl and the daughter of a shopkeeper. She is hired by Pilar Ternera to have sex with her son Arcadio, her eventual husband. She is taken in along with her children by the Buendías after Arcadio's execution. After Úrsula's death she leaves unexpectedly, not knowing her destination.
 * Santa Sofía de la Piedad

During his 32 civil war campaigns, Colonel Aureliano Buendía has 17 sons by 17 different women, each named after their father. Four of these Aurelianos (A. Triste, A. Serrador, A. Arcaya and A. Centeno) stay in Macondo and become a permanent part of the family. Eventually, as revenge against the Colonel, all are assassinated by unknown assailants, who identified them by the mysteriously permanent Ash Wednesday cross on their foreheads. The only survivor of the massacre is A. Amador, who escapes into the jungle only to be assassinated at the doorstep of his father's house many years later.
 * 17 Aurelianos

Fourth generation
Remedios the Beauty Remedios the Beauty is Arcadio and Santa Sofía's first child. It is said she is the most beautiful woman ever seen in Macondo, and unintentionally causes the deaths of several men who love or lust over her. She appears to most of the town as naively innocent, and some come to think that she is mentally delayed. However, Colonel Aureliano Buendía believes she has inherited great lucidity: "It is as if she's come back from twenty years of war," he said. She rejects clothing and beauty which has the opposite effect and makes her more beautiful. Too beautiful and, arguably, too wise for the world, Remedios ascends to heaven one afternoon, while folding Fernanda's white sheet.

José Arcadio Segundo is Aureliano Segundo's twin brother, and one of Arcadio and Santa Sofía's three children. Úrsula believes that the two were switched in their childhood, as José Arcadio begins to show the characteristics of the family's Aurelianos, growing up to be pensive and quiet. He plays a major role in the banana worker strike, and is the only survivor when the company massacres the striking workers. Afterward, he spends the rest of his days studying the parchments of Melquíades, and tutoring the young Aureliano. He dies at the exact instant that his twin does.
 * José Arcadio Segundo

Aureliano Segundo is José Arcadio Segundo's twin brother, and one of Arcadio and Santa Sofía's three children. Of the two brothers, Aureliano Segundo is the more boisterous and impulsive, much like the José Arcadios of the family. He takes his first girlfriend Petra Cotes as his mistress during his marriage to the beautiful and bitter Fernanda del Carpio. When living with Petra, his livestock propagate wildly, and he indulges in unrestrained revelry. After the long rains, his fortune dries up, and the Buendías are left almost penniless. He turns to a search for a buried treasure, which nearly drives him to insanity. He dies of an unknown throat illness at the same moment as his twin. During the confusion at the funeral, the bodies are switched, and each is buried in the other's grave (highlighting Úrsula's earlier comment that they had been switched at birth).
 * Aureliano Segundo

Fernanda del Carpio Fernanda comes from a ruined, aristocratic family that kept her isolated from the world. She was chosen as the most beautiful of 5,000 girls. She is brought to Macondo to compete with Remedios the Beauty for the title of Queen of the local carnival; however, her appearance turns the carnival into a bloody confrontation. After the fiasco, she marries Aureliano Segundo, who despite this maintains a domestic relation with his concubine, Petra Cotes. Nevertheless, she soon takes the leadership of the family away from the now frail Úrsula. She manages the Buendía affairs with an iron fist. She has three children by Aureliano Segundo: José Arcadio; Renata Remedios, a.k.a. Meme; and Amaranta Úrsula. She remains in the house after her husband dies, taking care of the household until her death.

Fernanda is never accepted by anyone in the Buendía household for they regard her as an outsider, although none of the Buendías rebel against her inflexible conservatism. Her mental and emotional instability is revealed through her paranoia, her correspondence with the "invisible doctors", and her irrational behavior towards Meme's son Aureliano, whom she tries to isolate from the world.

Petra is a dark-skinned mulatto woman with gold-brown eyes similar to those of a panther. She is Aureliano Segundo's mistress and the love of his life. She arrives in Macondo as a teenager with her first husband. After her husband dies, she begins a relationship with José Arcadio Segundo. When she meets Aureliano Segundo, she begins a relationship with him as well, not knowing they are two different men. After José Arcadio decides to leave her, Aureliano Segundo gets her forgiveness and remains by her side. He continues to see her, even after his marriage. He eventually lives with her, which greatly embitters his wife, Fernanda del Carpio. When Aureliano and Petra make love, their animals reproduce at an amazing rate, but their livestock is wiped out during the four years of rain. Petra makes money by keeping the lottery alive and provides food baskets for Fernanda and her family after the death of Aureliano Segundo.
 * Petra Cotes

Fifth generation
José Arcadio, named after his ancestors in the Buendía tradition, is Aureliano Segundo and Fernanda's oldest child and follows the trend of previous Arcadios. He is raised by Úrsula, who intends for him to become Pope. After Fernanda's death, he returns from Rome without having become a priest. He spends his days pining for Amaranta, the object of his obsession. Eventually, he discovers the treasure Úrsula had buried under her bed, which he wastes on lavish parties and escapades with adolescent boys. Later, he begins a tentative friendship with Aureliano Babilonia, his nephew. José Arcadio plans to set Aureliano up in a business and return to Rome, but is murdered in his bath by four of the adolescent boys who ransack his house and steal his gold.
 * José Arcadio

Renata Remedios, or Meme, is Aureliano Segundo and Fernanda's second child and first daughter. While she doesn't inherit Fernanda's beauty, she does have Aureliano Segundo's love of life and natural charisma. After her mother declares that she is to do nothing but play the clavichord, she is sent to school where she receives her performance degree as well as academic recognition. While she pursues the clavichord with "an inflexible discipline" to placate Fernanda, she also enjoys partying and exhibits the same tendency towards excess as her father.
 * Renata Remedios (a.k.a. Meme)

Meme meets and falls in love with Mauricio Babilonia, but when Fernanda discovers their affair, she arranges for Mauricio to be shot, claiming that he was a chicken thief. She then takes Meme to a convent. Meme remains mute for the rest of her life, partially because of the trauma, but also as a sign of rebellion. Several months after arriving at the convent, she gives birth to a son, Aureliano. He is sent to live with the Buendías. Aureliano arrives in a basket and Fernanda is tempted to kill the child in order to avoid shame, but instead claims he is an orphan in order to cover up her daughter's promiscuity and is forced to "tolerate him against her will for the rest of her life because at the moment of truth she lacked the courage to go through with her inner determination to drown him".

Amaranta Úrsula is Aureliano Segundo and Fernanda's third child. She displays the same characteristics as her namesake who dies when she is only a child. She never knows that the child sent to the Buendía home is her nephew, the illegitimate son of Meme. He becomes her best friend in childhood. She returns home from Europe with an older husband, Gastón, who leaves her when she informs him of her passionate affair with Aureliano. She dies of a hemorrhage after she has given birth to the last of the Buendía line.
 * Amaranta Úrsula

Mauricio is a brutally honest, generous and handsome mechanic for the banana company. He is said to be a descendant of the gypsies who visit Macondo in the early days. He has the unusual characteristic of being constantly swarmed by yellow butterflies, which follow even his lover for a time. Mauricio begins a romantic affair with Meme until Fernanda discovers them and tries to end it. When Mauricio continues to sneak into the house to see her, Fernanda has him shot, claiming he is a chicken thief. Paralyzed and bedridden, he spends the rest of his long life in solitude.
 * Mauricio Babilonia

Gastón is Amaranta Úrsula's wealthy, Belgian husband. She marries him in Europe and returns to Macondo leading him on a silk leash. Gastón is about fifteen years older than his wife. He is an aviator and an adventurer. When he moves with Amaranta Ursula to Macondo he thinks it is only a matter of time before she realizes that her European ways are out of place, causing her to want to move back to Europe. However, when he realizes his wife intends to stay in Macondo, he arranges for his airplane to be shipped over so he can start an airmail service. The plane is shipped to Africa by mistake. When he travels there to claim it, Amaranta writes to him of her love for Aureliano Babilonia Buendía. Gastón takes the news in stride, only asking that they ship him his velocipede.
 * Gastón

Sixth generation
Aureliano Babilonia, or Aureliano II, is Meme's illegitimate child with Mauricio Babilonia. He is hidden from everyone by his grandmother, Fernanda. He is strikingly similar to his namesake, the Colonel, and has the same character patterns as well. He is taciturn, silent, and emotionally charged. He barely knows Úrsula, who dies during his childhood. He is a friend of José Arcadio Segundo, who explains to him the true story of the banana worker massacre.
 * Aureliano Babilonia (Aureliano II)

While other members of the family leave and return, Aureliano stays in the Buendía home. He only ventures into the empty town after the death of Fernanda. He works to decipher the parchments of Melquíades but stops to have an affair with his childhood partner and the love of his life, Amaranta Úrsula, not knowing that she is his aunt. When both she and her child die, he is able to decipher the parchments. "...Melquíades' final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of man's time and space: 'The first in line is tied to a tree and the last is being eaten by ants'." It is assumed he dies in the great wind that destroys Macondo the moment he finishes reading Melquíades' parchments.

With his death, the Buendía line ends.

Seventh generation
Aureliano is the child of Aureliano and his aunt, Amaranta Úrsula. He is born with a pig's tail, as the eldest and long dead Úrsula had always feared would happen (the parents of the child had never heard of the omen). His mother dies after giving birth to him, and, due to his grief-stricken father's negligence, he is devoured by ants.
 * Aureliano

Others
Melquíades is one of a band of gypsies who visit Macondo every year in March, displaying amazing items from around the world. Melquíades sells José Arcadio Buendía several new inventions including a pair of magnets and an alchemist's lab. Later, the gypsies report that Melquíades died in Singapore, but he, nonetheless, returns to live with the Buendía family, stating he could not bear the solitude of death. He stays with the Buendías and begins to write the mysterious parchments, which are eventually translated by Aureliano Babilonia, and prophesy the House of Buendía's end. Melquíades dies a second time from drowning in the river near Macondo and, following a grand ceremony organized by the Buendías, is the first individual buried in Macondo. His name echoes Melchizedek in the Old Testament, whose source of authority as a high priest was mysterious.
 * Melquíades

Pietro is a very handsome and polite Italian musician who runs a music school. He installs the pianola in the Buendía house. He becomes engaged to Rebeca, but Amaranta, who also loves him, manages to delay the wedding for years. When José Arcadio and Rebeca agree to be married, Pietro begins to woo Amaranta, who is so embittered that she cruelly rejects him. Despondent over the loss of both sisters, he kills himself.
 * Pietro Crespi

Mr. Herbert is a gringo who shows up at the Buendía house for lunch one day. After tasting the local bananas for the first time, he arranges for a banana company to set up a plantation in Macondo. The plantation is run by the dictatorial Jack Brown. When José Arcadio Segundo helps arrange a workers' strike on the plantation, the company traps the more than three thousand strikers and machine guns them down in the town square. The banana company and the government completely cover up the event. José Arcadio is the only one who remembers the slaughter. The company arranges for the army to kill off any resistance, then leaves Macondo for good. The event is likely based on the Banana massacre that took place in Ciénaga, Magdalena in 1928.
 * Mr. Herbert and Mr. Brown

He is the friend and comrade-in-arms of Colonel Aureliano Buendía. He fruitlessly woos Amaranta.
 * Colonel Gerineldo Márquez

Gabriel is only a minor character in the novel but he has the distinction of bearing almost the same name as the author. He is the great-great-grandson of Colonel Gerineldo Márquez. He and Aureliano Babilonia are close friends because they know the history of the town, which no one else believes. He leaves for Paris after winning a contest and decides to stay there, selling old newspapers and empty bottles. He is one of the few who is able to leave Macondo before the town is wiped out entirely.
 * Gabriel (Márquez)

Subjectivity of reality and magic realism
Critics often cite certain works by García Márquez, such as A Very Old Man with Enormous Wings and One Hundred Years of Solitude, as exemplary of magic realism, a style of writing in which the supernatural is presented as mundane, and the mundane as supernatural or extraordinary. The term was coined by German art critic Franz Roh in 1925.

The novel presents a fictional story in a fictional setting. The extraordinary events and characters are fabricated, yet García Márquez uses his fantastic story as an expression of reality. "In One Hundred Years of Solitude myth and history overlap. The myth acts as a vehicle to transmit history to the reader. García Márquez's novel could also be referred to as anthropology, where truth is found in language and myth. The real and the fiction are indistinguishable.

There are three main mythical elements of the novel: classical stories alluding to foundations and origins, characters resembling mythical heroes, and supernatural elements." Magic realism is achieved by the constant intertwining of the ordinary with the extraordinary. This magic realism strikes at one's traditional sense of naturalistic fiction. There is something clearly magical about the world of Macondo. It is a state of mind as much as, or more than, a geographical place. For example, one learns very little about its actual physical layout. Furthermore, once in it, the reader must be prepared to meet whatever the imagination of the author presents to them.

García Márquez blends the real with the magical through the use of tone and narration. By maintaining the same tone throughout the novel, García Márquez makes the extraordinary blend with the ordinary. His condensation of events and lackadaisical manner in describing them causes the extraordinary to seem less remarkable than it actually is, further blending the real with the magical. Reinforcing this effect is the unastonished tone in which the book is written. This tone restricts the ability of the reader to question the events of the novel. However, it also causes the reader to call into question the limits of reality. Furthermore, maintaining the same narrator throughout the novel familiarizes the reader with his voice and causes them to become accustomed to the extraordinary events in the novel.

Throughout the novel, García Márquez is said to have a gift for blending the everyday with the miraculous, the historical with the fabulous, and psychological realism with surreal flights of fancy. It is a revolutionary novel that provides a looking glass into the thoughts and beliefs of its author, who chose to give a literary voice to Latin America: "A Latin America which neither wants, nor has any reason, to be a pawn without a will of its own; nor is it merely wishful thinking that its quest for independence and originality should become a Western aspiration."

Although we are faced with a very convoluted narrative, García Márquez is able to define clear themes while maintaining individual character identities, and using different narrative techniques such as third-person narrators, specific point of view narrators, and streams of consciousness. Cinematographic techniques are also employed in the novel, with the idea of the montage and the close-up, which effectively combine the comic and grotesque with the dramatic and tragic. Furthermore, political and historical realities are combined with the mythical and magical Latin American world. Lastly, through human comedy the problems of a family, a town, and a country are unveiled. This is all presented through García Márquez's unique form of narration, which causes the novel to never cease being at its most interesting point.

Solitude
Perhaps the most dominant theme in the book is that of solitude. Macondo was founded in the remote jungles of the Colombian rainforest. The solitude of the town is representative of the colonial period in Latin American history, where outposts and colonies were, for all intents and purposes, not interconnected. Isolated from the rest of the world, the Buendías grow to be increasingly solitary and selfish. With every member of the family living only for him or her self, the Buendías become representative of the aristocratic, land-owning elite who came to dominate Latin America in keeping with the sense of Latin American history symbolized in the novel. This egocentricity is embodied, especially, in the characters of Aureliano, who lives in a private world of his own, and Remedios the Beauty, who innocently destroys the lives of four men enamored by her unbelievable beauty, because she is living in a different reality due to what some see as autism. Throughout the novel it seems as if no character can find true love or escape the destructiveness of their own egocentricity.

The selfishness of the Buendía family is eventually broken by the once superficial Aureliano Segundo and Petra Cotes, who discover a sense of mutual solidarity and the joy of helping others in need during Macondo's economic crisis. The pair even find love, and their pattern is repeated by Aureliano Babilonia and Amaranta Úrsula. Eventually, Aureliano and Amaranta Úrsula have a child, and the latter is convinced that it will represent a fresh start for the once-conceited Buendía family. However, the child turns out to be the perpetually feared monster with the pig's tail.

Nonetheless, the appearance of love represents a shift in Macondo, albeit one that leads to its destruction. "The emergence of love in the novel to displace the traditional egoism of the Buendías reflects the emergence of socialist values as a political force in Latin America, a force that will sweep away the Buendías and the order they represent." The ending to One Hundred Years of Solitude could be a wishful prediction by García Márquez, a well-known socialist, regarding the future of Latin America.

Fluidity of time
One Hundred Years of Solitude contains several ideas concerning time. Although the story can be read as a linear progression of events, both when considering individual lives and Macondo's history, García Márquez allows room for several other interpretations of time:
 * He reiterates the metaphor of history as a circular phenomenon through the repetition of names and characteristics belonging to the Buendía family. Over six generations, all the José Arcadios possess inquisitive and rational dispositions as well as enormous physical strength. The Aurelianos, meanwhile, lean towards insularity and quietude. This repetition of traits reproduces the history of the individual characters and, ultimately, the history of the town as a succession of the same mistakes ad infinitum due to some endogenous hubris in our nature.
 * The novel explores the issue of timelessness or eternity even within the framework of mortal existence. A major trope with which it accomplishes this task is the alchemist's laboratory in the Buendía family home. The laboratory was first designed by Melquíades near the start of the story and remains essentially unchanged throughout its course. It is a place where the male Buendía characters can indulge their will to solitude, whether through attempts to deconstruct the world with reason as in the case of José Arcadio Buendía, or by the endless creation and destruction of golden fish as in the case of his son Colonel Aureliano Buendía. Furthermore, a sense of inevitability prevails throughout the text. This is a feeling that regardless of what way one looks at time, its encompassing nature is the one truthful admission.
 * On the other hand, it is important to keep in mind that One Hundred Years of Solitude, while basically chronological and "linear" enough in its broad outlines, also shows abundant zigzags in time, both flashbacks of matters past and long leaps towards future events. One example of this is the youthful amour between Meme and Mauricio Babilonia, which is already in full swing before we are informed about the origins of the affair.

Incest
A recurring theme in One Hundred Years of Solitude is the Buendía family's propensity towards incest. The patriarch of the family, Jose Arcadio Buendía, is the first of numerous Buendías to intermarry when he marries his first cousin, Úrsula. Furthermore, the fact that "throughout the novel the family is haunted by the fear of punishment in the form of the birth of a monstrous child with a pig's tail" can be attributed to this initial act and the recurring acts of incest among the Buendías.

Elitism
A theme throughout One Hundred Years of Solitude is the elitism of the Buendía family. Gabriel García Márquez shows his criticism of the Latin American elite through the stories of the members of a high-status family who are essentially in love with themselves, to the point of being unable to understand the mistakes of their past and learn from them. The Buendía family's literal loving of themselves through incest not only shows how elites consider themselves to be above the law, but also reveals how little they learn from their history. José Arcadio Buendía and Ursula fear that since their relationship is incestuous, their child will have animalistic features; even though theirs does not, the final child of the Buendía line, Aureliano of Aureliano and Amaranta Ursula, has the tail of a pig, and because they do not know their history, they do not know that this fear has materialized before, nor do they know that, had the child lived, removing the tail would have resulted in his death. This speaks to how elites in Latin America do not pass down history that remembers them in a negative manner. The Buendía family further cannot move beyond giving tribute to themselves in the form of naming their children the same names over and over again. "José Arcadio" appears four times in the family tree, "Aureliano" appears 22 times, "Remedios" appears three times and "Amaranta" and "Ursula" appear twice. The continual references to the sprawling Buendía house call to mind the idea of a Big House, or hacienda, a large land holding in which elite families lived and managed their lands and laborers. In Colombia, where the novel takes place, a Big House was known for being a grand one-story dwelling with many bedrooms, parlors, a kitchen, a pantry and a veranda, all areas of the Buendía household mentioned throughout the book. The book focuses squarely on one family in the midst of the many residents of Macondo as a representation of how the poorest of Latin American villages have been subjugated and forgotten throughout the course of Latin American history.

Literary significance and acclaim
One Hundred Years of Solitude has received universal recognition. The novel has been awarded Italy's Chianciano Award, France's Prix de Meilleur Livre Etranger, Venezuela's Rómulo Gallegos Prize, and the United States' Books Abroad/Neustadt International Prize for Literature. García Márquez also received an honorary LL.D. from Columbia University in New York City. These awards set the stage for García Márquez's 1982 Nobel Prize for Literature. The novel topped the list of books that have most shaped world literature over the last 25 years, according to a survey of international writers commissioned by the global literary journal Wasafiri as a part of its 25 th -anniversary celebration.

The superlatives from reviewers and readers alike display the resounding praise which the novel has received. Chilean poet and Nobel Laureate Pablo Neruda called it "the greatest revelation in the Spanish language since Don Quixote of Cervantes", while John Leonard in The New York Times wrote that "with a single bound, Gabriel García Márquez leaps onto the stage with Günter Grass and Vladimir Nabokov."

According to Antonio Sacoto, professor at the City College of the City University of New York, One Hundred Years of Solitude is considered one of the five key novels in Hispanic American literature (together with El Señor Presidente, Pedro Páramo, La Muerte de Artemio Cruz, and La ciudad y los perros). These novels are often considered representative of the boom that allowed Hispanic American literature to reach the quality of North American and European literature in terms of technical quality, rich themes, and linguistic innovations, among other attributes.

In his Nobel Prize acceptance speech, García Márquez addressed the significance of his writing and proposed its role to be more than just literary expression:

"I dare to think that it is this outsized reality, and not just its literary expression, that has deserved the attention of the Swedish Academy of Letters. A reality not of paper, but one that lives within us and determines each instant of our countless daily deaths, and that nourishes a source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable. This, my friends, is the crux of our solitude."

Harold Bloom remarked, "My primary impression, in the act of rereading One Hundred Years of Solitude, is a kind of aesthetic battle fatigue, since every page is rammed full of life beyond the capacity of any single reader to absorb... There are no wasted sentences, no mere transitions, in this novel, and you must notice everything at the moment you read it." David Haberly has argued that García Márquez may have borrowed themes from several works, such as William Faulkner's Yoknapatawpha County, Virginia Woolf's Orlando: A Biography, Defoe's A Journal of the Plague Year, and Chateaubriand's Atala, in an example of intertextuality.

In 2017, Chilean artist Luisa Rivera illustrated a fiftieth anniversary special edition of One Hundred Years of Solitude published by Penguin Random House Group Editorial, Spain.

Relation to Colombian history
As a metaphoric, critical interpretation of Colombian history, from foundation to contemporary nation, One Hundred Years of Solitude presents different national myths through the story of the Buendía family, whose spirit of adventure places them amidst the important actions of Colombian historical events. These events include the inclusion of the Roma "Gypsies", the Liberal political reformation of a colonial way of life, and the 19th-century arguments for and against it; the arrival of the railway to a mountainous country; the Thousand Days' War (Guerra de los Mil Días, 1899–1902); the corporate hegemony of the United Fruit Company ("American Fruit Company" in the story); the cinema; the automobile; and the military massacre of striking workers as government–labour relations policy.

Inclusion of the Roma ("Gypsies")
According to Hazel Marsh, a Senior Lecturer in Latin American Studies at the University of East Anglia, it is estimated that 8,000 Roma live in Colombia today. However, "most South American history books...exclude the presence of the Roma." One Hundred Years of Solitude differs from this tendency by including the traveling Roma throughout the story. Led by a man named Melquíades, the Roma bring new discoveries and technology to the isolated village of Macondo, often inciting the curiosity of José Arcadio Buendía.

Depiction of the Thousand Days War
The Thousand Days War in Colombia was fought between Liberals and Conservatives from 1899 to 1902. The Conservatives had been "in control more or less constantly since 1867," and the Liberals, mainly coffee plantation owners and workers who had been excluded from representation, sparked a revolution in October 1899. The fighting continued for a few years, and it is estimated that over 130,000 people died.

In Chapters 5 and 6 of One Hundred Years of Solitude, the Conservative Army has invaded the town of Macondo leading Aureliano to eventually lead a rebellion. The rebellion is successful - the Conservative Army falls - and afterward, Aureliano, now 'Colonel Aureliano Buendía' decides to continue fighting. He departs Macondo with the band of people who helped him oust the Conservative Army to go continue fighting elsewhere for the Liberal side.

Because Macondo is a fictional town created by Gabriel García Márquez, the exact events of the Thousand Days' War as they occurred in the book are fictional. However, these events are widely considered to be metaphorical for the Thousand Days War as experienced by the entire country of Colombia.

Representation of the "Banana Massacre"
The "Banana Massacre" occurred December 5-6, 1928, in Ciénaga near Santa Marta, Colombia. Banana plantation workers had been striking against the United Fruit Company to earn better labor conditions when members of the local military fired guns into crowds.

This event, which occurs in Chapter 15 of One Hundred Years of Solitude, was depicted with relative accuracy, minus a false sense of certainty about the specific facts surrounding the events. For instance, although Garcia Márquez writes that there must have been "three thousand...dead," the true number of victims is unknown. However, the number likely was not far off, because it is considered that the "number of killings was over a thousand," according to Dr. Jorge Enrique Elias Caro and Dr. Antonino Vidal Ortega. The lack of information surrounding the "Banana Massacre" is thought to be largely due to the "manipulation of the information as registered by the Colombian Government and the United Fruit Company."

Internal references
In the novel's account of the civil war and subsequent peace, there are numerous mentions of the pensions not arriving for the veterans, a reference to one of García Márquez's earlier works, El coronel no tiene quien le escriba. In the novel's final chapter, García Márquez refers to the novel Hopscotch (Spanish: Rayuela) by Julio Cortázar in the following line: "...in the room that smelled of boiled cauliflower where Rocamadour was to die" (p. 412). Rocamadour is a fictional character in Hopscotch who indeed dies in the room described. He also refers to two other major works by Latin American writers in the novel: The Death of Artemio Cruz (Spanish: La Muerte de Artemio Cruz) by Carlos Fuentes and Explosion in a Cathedral (Spanish: El siglo de las luces) by Alejo Carpentier.

Adaptations
Shūji Terayama's play One Hundred Years of Solitude (百年の孤独, originally performed by the Tenjō Sajiki theater troupe) and his film Farewell to the Ark (さらば箱舟) are loose (and unauthorized) adaptations of the novel transplanted into the realm of Japanese culture and history.

On March 6, 2019, García Márquez's son Rodrigo García Barcha, announced that Netflix was adapting One Hundred Years of Solitude into a TV series.

On October 21, 2022, Netflix commemorated the fortieth anniversary of the announcement of García Márquez's Nobel Prize in Literature with an exclusive preview of One Hundred Years of Solitude.

On the tenth anniversary of García Márquez's passing, Netflix released the official teaser for One Hundred Years of Solitude and revealed that the series will run for sixteen episodes. The cast includes Claudio Cataño (Colonel Aureliano Buendía), Jerónimo Barón (young Aureliano Buendía), Marco González (Jose Arcadio Buendía), Leonardo Soto (José Arcadio), Susana Morales (Úrsula Iguarán), Ella Becerra (Petronila Iguarán), Carlos Suaréz (Aureliano Iguarán), Moreno Borja (Melquiades), and Santiago Vásquez (teenage Aureliano Buendía).

One Hundred Years of Solitude is considered by fans to be García Márquez's masterpiece yet he himself refused to sell the screening rights to his novel because he did not want it to be adapted in any language other than Spanish and felt a film adaptation would not cover the entire plot due to its length. For the upcoming TV adaptation, Netflix worked with Rodrigo and Gonzalo García who served as the show's executive producers. The episodes were all shot in the late writer's native Colombia and directed by Alex García Lopez, and all the characters' lines are spoken in Spanish. Barbara Enriquez, who had previously worked on Netflix's Roma, served as the show's production designer. One Hundred Years of Solitude is Netflix's most expensive Latin American-made project to date, with Colombian groups and indigenous communities making and providing props, and a total of four hundred fifty locals building three different versions of Macondo for the progression of the series.

In García Márquez's birthplace of Aracataca, the locals were disappointed that One Hundred Years of Solitude was not shot there yet they still hope the upcoming Netflix series will draw people in.

Reading curriculum

 * Oprah's Book Club's Guide to One Hundred Years of Solitude
 * Magical Realism in "One Hundred Years of Solitude"

Lectures and recordings

 * "The Solitude of Latin America", Nobel lecture by Gabriel García Márquez, 8 December 1982
 * "On Marquez's One Hundred Years of Solitude" – a lecture by Ian Johnston

title: One Hundred Years of Solitude


text:
Maglemosian culture

Maglemosian (c. 9000 – c.  6000 BC) is the name given to a culture of the early Mesolithic period in Northern Europe. In Scandinavia, the culture was succeeded by the Kongemose culture.

Environment and location
The name originates from the Danish archeological site Maglemose, situated near Gørlev and Høng on western Zealand, southwest of lake Tissø. Here the first settlement of the culture was excavated in 1900, by George Sarauw. During the following century a long series of similar settlements were excavated from England to Poland and from Skåne in Sweden to northern France.

When the Maglemosian culture flourished, sea levels were much lower than now and what is now mainland Europe and Scandinavia were linked with Britain. The cultural period overlaps the end of the last ice age, when the ice retreated and the glaciers melted. It was a long process and sea levels in Northern Europe did not reach current levels until almost 6000 BC, by which time they had inundated large territories previously inhabited by Maglemosian people. Therefore, there is hope that the emerging discipline of underwater archaeology may reveal interesting finds related to the Maglemosian culture in the future.

Characteristics
The Maglemosian people lived in forest and wetland environments, using fishing and hunting tools made from wood, bone, and flint microliths. It appears that they had domesticated the dog. Some may have lived settled lives, but most were nomadic.

Huts made of bark have been preserved, in addition to tools made of flint, bone, and horn. A characteristic feature of the culture are the sharply edged microliths of flintstone, used for spear and arrow heads. Another notable feature is the leister, a characteristic type of fishing spear, used for gigging.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Maglemosian culture


text:
Lophius piscatorius

Lophius piscatorius, commonly known as the angler, frog fish, fishing frog, monk, European angler, common monkfish, sea devil, or devil fish, is a monkfish in the family Lophiidae. It is found in coastal waters of the northeast Atlantic, from the Barents Sea to the Strait of Gibraltar, the Mediterranean and the Black Sea. Within some of its range, including the Irish Sea, this species comprises a significant commercial fishery.

Taxonomy
Lophius piscatorius was first formally described by Carl Linnaeus in the 10th edition of Systema Naturae given as "in Oceano Europæo", meaning the Northeastern Atlantic Ocean, Mediterranean and Black Seas with localities mentioned including Bordeaux, Marseille and Montpellier in France; Genoa, Rome, Naples and Venice in Italy; Lesbos in Greece; and Syria. When Linnaeus described this species he created a new genus, Lophius, in 1883 David Starr Jordan and Charles Henry Gilbert designated this species as the type species of that genus. The genus Lophius is one of 4 extant genera in the family Lophiidae which the 5th edition of Fishes of the World classifies in the monotypic suborder Lophioidei within the order Lophiiformes.

Etymology
Lophius piscatorius has the genus name Lophius which means "mane" and is presumably a reference to the first three spines of the first dorsal fin which are tentacle like, with three smaller spines behind them. The specific name piscatorius, this means "of fishing", this is a reference to the first dorsal spine being modified into a "fishing rod", called the illicium tipped with a lure, the esca, which is used to attract prey within reach of the huge mouth.

Description
The average size of European anglers is 40 - 60 cm, with larger specimens exceeding this range. Precise ranges in body size tend to vary between different localities and populations. Average size also tends to increase with depth; populations living in deeper waters are larger-bodied overall than shallow-water ones.

It has a very large head which is broad, flat, and depressed; the rest of the body appears to be a mere appendage. The wide mouth extends all the way around the anterior circumference of the head, and both jaws are armed with bands of long, pointed teeth. These are inclined inwards and can be closed so as to offer no impediment to an object gliding towards the stomach, but to prevent its escape from the mouth.

The pectoral and pelvic fins are articulated as to perform the functions of feet, so the fish is able to walk along the bottom of the sea, where it generally hides in the sand or amongst seaweed. Around its head and also along the body, the skin bears fringed appendages resembling short fronds of seaweed, a structure which, combined with the ability to match the colour of the body to its surroundings, assists this fish in camouflaging itself in the places which it selects on account of the abundance of prey. It has no scales.

The ovaries of female anglers take the form of two long, ribbon-like lobes connected at their posterior ends. One side consists of an egg-producing layer, while the other produces a gelatinous secretion that fills the ovarian lumen during egg maturation. During the reproductive season, the ovaries swell until they fill the abdominal cavity. Male testes are elongated and bean-shaped in cross-section. Spermatogenesis begins in sac-like cysts and is completed in the lumina.

Habitat
The European angler inhabits muddy and sandy bottoms up to depths of 1000 m. It is occasionally found on rocky bottoms as well. They rarely occur below the continental slope.

Feeding
The fish has long filaments along the middle of its head, which are, in fact, the detached and modified three first spines of the anterior dorsal fin. The filament most important to the angler is the first, which is the longest, terminates in a lappet, and is movable in every direction. The angler is believed to attract other fish by means of its lure, and then to seize them with its enormous jaws. While it is considered probable that smaller fish are attracted in this way experiments have shown that the actions of the jaw is automatic and depends on the contact of the prey with the tentacle. Its stomach is expandable and it is not unheard of for these fish to swallow prey of their own size.

Adult anglers feed primarily on fish, while juveniles prey mainly on marine invertebrates. Norway pout is the most common prey item in Northern European waters, while blue whiting is more common among southern population. Whiting and Norway lobster are among the main prey of adult anglers in the Irish Sea. Lesser sandeel is a seasonally common prey item around the Shetland Islands. Cephalopods are an important food source in the Cantabrian Sea. In 1940, an angler was discovered with a herring gull in its stomach, and it is known to surface and attempt to capture waterbirds.

Breeding and lifecycle
The spawn of the angler consists of a thin sheet of transparent gelatinous material 2 to 3 ft wide and 25 - 30 ft long drifting freely in the water. The eggs in this sheet are in a single layer, each in its own little cavity. The larvae are free-swimming and their pelvic fins are elongated into filaments. As many as 300,000 to 2,800,000 eggs may be released in a single spawning. The egg sheets are buoyant and float near the surface of the water, where the action of wind and surface currents may aid dispersal.

A male angler matures at the age of four years and grows to be 16 in long; whereas the female angler takes two years longer to mature.

The primary spawning season is distributed between February and June, peaking in spring. A secondary spawning season occurs in November and December, although with a lower percentage of actively reproducing individuals than observed in the primary season.

Relationship with humans
Lophius piscatorius has historically been considered valuable bycatch in Atlantic fisheries. Captures increased significantly following the development of improvements in deep-water fishing technology. The species has been an important fishery resource in Iberian waters since the 1980s. The related species Lophius budegassa is often caught alongside it, but L. piscatorius is the more abundant of the two.

title: Lophius piscatorius


text:
Minister of the Crown

Minister of the Crown is a formal constitutional term used in Commonwealth realms to describe a minister of the reigning sovereign or viceroy. The term indicates that the minister serves at His Majesty's pleasure, and advises the sovereign or viceroy on how to exercise the Crown prerogatives relating to the minister's department or ministry.

Ministries
In Commonwealth realms, the sovereign or viceroy is formally advised by a larger body known as a privy council or executive council, though, in practice, they are advised by a subset of such councils: the collective body of ministers of the Crown called the ministry. The ministry should not be confused with the cabinet, as ministers of the Crown may be outside a cabinet. In the UK, ministers are the MPs and members of the British House of Commons or House of Lords who are in the government.

History
Ministers of the Crown in Commonwealth realms have their roots in early modern England, where monarchs sometimes employed "cabinet councils" consisting of Ministers to advise the monarch and implemented his decisions. The term Minister came into being as the sovereign's advisors "ministered to", or served, the king. Over time, former ministers and other distinguished persons were retained as peripheral advisers with designated ministers having the direct ear of the king. This led to the creation of the larger Privy Council, with the Cabinet becoming a committee within that body, made up of currently serving ministers, who also were heads of departments.

During a period between the accession of King James VI of Scotland to the throne of England in 1603 and the unification of Scotland and England in 1707, the two entities were separate "countries" in personal union through the one monarch who was advised by a separate set of ministers of the Crown for each country.

As the English overseas possessions and later British Empire expanded, the colonial governments remained subordinate to the imperial government at Westminster, and thus the Crown was still ministered to only by the Imperial Privy Council, made up of British ministers of the Crown. When Canada became a Dominion in 1867, however, a separate Canadian Privy Council was established to advise the Canadian governor general on the exercise of the Crown prerogative in Canada, although constitutionally the viceroy remained an agent of the British government at Whitehall. After that date, other colonies of the empire attained Dominion status and similar arrangements were made.

Following the passage of the Statute of Westminster in 1931, however, the Dominions became effectively autonomous realms under one sovereign, thus returning the monarch to a position similar to that which existed pre-1707, where he or she was ministered to by a separate ministry for each realm. Thus, today, no minister of the Crown in any Commonwealth realm can advise the monarch to exercise any powers pertaining to any of the other Dominions.

Uses in other countries
In Spain, during the "Restauración" period (1874–1931) the term Minister of the Crown (Ministro de la Corona) was used for a person who was in charge of a ministerial department of His Majesty's Government (Gobierno de Su Majestad). For example, during the reign of King Alfonso XIII, when Carlos María Cortezo y Prieto de Orche was appointed as "Ministro de Instrucción Pública y Bellas Artes" (Minister for Public Instruction of Fine Arts), in the royal decree it was noted that he was a minister of the Crown.

Nowadays, the most formal way to address a minister is as "Minister of the Government".

title: Minister of the Crown


text:
Will Patton

William Rankin Patton (born June 14, 1954) is an American actor and audiobook narrator. He starred as Colonel Dan Weaver in the TNT science fiction series Falling Skies. He also appeared in the films The Client (1994), Armageddon (1998), Gone in 60 Seconds (2000), Remember the Titans (2000), The Punisher (2004), American Honey, Halloween, and Minari (2020). He appeared opposite Kevin Costner in four films: No Way Out (1987), The Postman (1997), and Horizon: An American Saga – Chapter 1 and Chapter 2 (both 2024), as well as having a guest role in seasons 3 and 4 of Costner's Paramount Network series Yellowstone (2020–2022). Patton also played Deputy Marnes in season 1 of the 2023 TV series Silo.

Patton was nominated alongside castmates for his ensemble work in Minari and Yellowstone at the Screen Actors Guild Awards in 2020 and 2021, and won two Obie Awards for Best Actor in Sam Shepard's play Fool for Love and the Public Theater production of What Did He See?.

Early life
William Rankin Patton was born on June 14, 1954 in Charleston, South Carolina, the eldest of three children. His father, Bill Patton, was a playwright and acting/directing instructor who was a Lutheran minister and served as a chaplain at Duke University. Patton was raised on a farm, where his parents ran a foster home for wayward teenagers.

Theater
Patton had lead roles in Sam Shepard's play Fool for Love and in the Public Theater production of What Did He See?.

Film and television
Patton portrayed the evil antagonist in Desperately Seeking Susan (1985) and had a significant role in No Way Out (1987) opposite Kevin Costner, his first major film. He went on to play the role of General Bethlehem, again opposite Kevin Costner, in the 1997 The Postman. He portrayed coach Bill Yoast in Remember the Titans (2000), and FBI agent Melvin Purvis in the 1991 made-for-television film Dillinger, before a supporting actor performance in Armageddon (1998). Patton performed the role of Alan Wilson for five episodes on the TV show 24 (2009).

Patton also appeared in Gone in 60 Seconds (2000), The Punisher (2004), and Minari (2020). Patton had a guest role in seasons 3 and 4 of Costner's Paramount Network series Yellowstone (2020-2022).

Patton portrayed the character of Sam Conroy in the film American Violet (2008). From 2011 to 2015, he starred as Colonel Weaver in the TNT sci-fi television series Falling Skies, executive-produced by Steven Spielberg. In 2018, Patton portrayed Officer Frank Hawkins in the horror reboot of Halloween, and reprised his role in its two Halloween sequels, Halloween Kills (2021) and Halloween Ends (2022). He also portrayed Avery Sunderland in the DC Universe TV series, Swamp Thing in 2019.

Patton's Yellowstone lead, Kevin Costner, identified Patton in May 2023 as an actor that will join him again, this time in Horizon, an "Civil War saga" based on four scripts which Costner intends to write, direct, and act in, covering a 15-year period of "pre- and post-Civil War... settlement of the American west".

Audiobooks
Patton provided the voice for the audio version of Al Gore's 2007 The Assault on Reason. He recorded the audio version for 22 books written by best-selling mystery writer James Lee Burke. He has recorded more than 45 audiobooks.

Critical reception
Patton's acting work has been noted, critically and by colleagues. Speaking with regard to Patton's presence in the Yellowstone cast, executive producer and fellow cast member Kevin Costner "praise[d]" Patton as "very dynamic in his own way, formidable and detailed", adding that he was "a fantastic actor" and that "[i]t was good to see Will on the set."

Awards and recognition
Patton won two Obie Awards for best actor for his theatrical performances in Fool for Love and What Did He See?. He was nominated for the Saturn Award for Best Supporting Actor for his work in The Postman (1997).

More recently, Patton was nominated for Outstanding Performance by a Cast in a Motion Picture at the 27th SAG Awards alongside his fellow cast members, for their work in Minari (2020), and for Outstanding Performance by an Ensemble in a Drama Series at the 28th SAG Awards alongside his fellow cast members, for their work in Yellowstone (in 2021).

title: Will Patton


text:
Federal Convention (Germany)

The Federal Convention, also known as the Federal Assembly (Bundesversammlung), is, together with the Joint Committee, one of two non-standing constitutional bodies in the federal institutional system of the Federal Republic of Germany. It is convened solely for the purpose of electing the President of Germany, either every five years (no later than 30 days before the expiration of a sitting President's term) or within 30 days of the premature termination of a presidential term. The Federal Convention consists of all members of the German federal parliament (Bundestag) and the same number of delegates from the 16 federated states. Those delegates are elected by the state parliaments for this purpose only.

The Basic Law mandates that a maximum of three rounds of voting can be held. On the first two rounds, a candidate must receive an absolute majority of delegates to be elected. After that, in the third round, a plurality of all delegates voting is sufficient for election to the office of Federal President. Any member of the convention may nominate candidates.

Usually there is not much uncertainty about the outcome: the party affiliations of the members of the convention, and hence the strength of the single parties, are known already. In many cases, the coalition in the federal parliament presented a joint candidate who prevailed in the first round.

Convening the Bundesversammlung
Each Federal Convention is convened by the incumbent President of the Bundestag in due course. Normally, this takes place during the last months of a sitting President's current term of office. The Convention must meet no later than thirty days before the end of the term, with the state parliaments needing sufficient time between the convening and the meeting to elect state electors.

If the term of office of a President ends prematurely through resignation or death, the Federal Convention must meet within thirty days. This has happened twice so far (2010 and 2012); in both cases, the President of the Bundestag convened the Assembly at the latest possible date.

Procedure
According to the Grundgesetz, the President is elected without a debate at the Federal Convention. The candidates are usually nominated by one or more parties but do not generally run a campaign. Each member of the Bundesversammlung may suggest candidates for the office of the Federal President. This means that not only parliamentary groups from the Bundestag can present a candidate but also small parties which may not be represented in the Bundestag. The Bundesversammlung is chaired by the President of the Bundestag (or one of the Vice Presidents, if the President stands as a candidate – as was the case with Karl Carstens in 1979).

The procedure of the election of the Bundespräsident consists of a maximum of three secret votes by written ballot. If one of the first two votes ends with an absolute majority for one of the candidates, this candidate is elected immediately. If the first two votes do not lead to an absolute majority, a plurality is sufficient on the third and final vote. The President of the Bundestag closes the session of the Bundesversammlung once the elected candidate accepts. Thus, the convention is irrevocably dissolved until it is reconvened for the next election. This means that even if the elected president were to resign only a few hours after accepting the election, the convention could not simply reconvene; rather, the president of the Bundestag would have to call a new convention, for which the state parliaments would first have to elect electors again.

Normally, the new president takes office thirty days after the election at the earliest, as the term of office of the predecessor is still continuing. Only in the case of a vacancy (e.g. after the resignation of the predecessor, as happened in 2010 and 2012), the elected person takes office immediately upon acceptance of the election. Irrespective of this, a newly elected president does not take the oath of office before the Federal Convention, but after taking office in a joint session of the Bundestag and the Bundesrat.

Membership
The Bundesversammlung includes the entire membership of the Bundestag, and an equal number of state delegates elected by the state or 'Länder' parliaments specifically for this purpose, proportional to their population.

According to federal law, every member of a state parliament has one vote. The delegates are elected with lists and proportional vote. Some details are dealt with by the standing orders of the state parliament. In many state parliaments, the members vote on a joint list that mirrors the strengths of the parliamentary groups.

A delegate for the Federal Convention must meet one certain standard: they must also be eligible for a candidacy for the Bundestag. The parliamentary groups sometimes elect delegates who are not politicians. For example, they choose artists, sports persons or other celebrities, or occasionally an ordinary citizen with an unusual story. Examples from 2017 are Jogi Löw, the coach of the national football team, for the Green Party in Baden-Württemberg and Olivia Jones, Germany's most famous drag queen, for the Green Party in Lower Saxony. Semiya Şimşek, daughter of a NSU terror victim, was elected by Die Linke in Thuringia.

The idea behind this custom is to have the president be elected not only by politicians but by a broader segment of the population. Also, the political parties like to be associated with the celebrities. They expect these non-politicians to vote within party lines. The voting in the Federal Convention is secret. From the time of their nomination until the closing of the session of the Federal Convention its members enjoy parliamentary immunity with regard to prosecution by public authorities in very much the same way as members of the Bundestag do.

History
Since 1979, the Bundesversammlung has traditionally met on May 23, the anniversary of the Basic Law (1949). This has changed since the resignations of former presidents Horst Koehler and Christian Wulff.

The most recent assembly of the Bundesversammlung was held on 13 February 2022, where Frank-Walter Steinmeier was re-elected.

Venue
On 12 September 1949, the first Bundesversammlung met in Bonn, which served as the capital of the Federal Republic of Germany before reunification with East Germany. From 1954 to 1969 the Bundesversammlung was convened at the Ostpreußenhalle in Berlin, leading to protests from the German Democratic Republic on each occasion it met. As a consequence, on March 5, 1969, the Soviet Union sent MiG-21 warplanes to fly over the venue in West Berlin. From 1974 to 1989, the Bundesversammlung met in the Beethovenhalle in Bonn. Since 1994, the meeting place has been the Reichstag building in Berlin. After the renovation of the Reichstag, the German Bundestag moved to the building in April 1999. Since the meeting of the Bundesversammlung held in May 1999, the body has convened in the plenary chamber at the Reichstag building, except that the 2022 Bundesversammlung took place at the Paul-Löbe-Haus in Berlin, with delegates spread over several floors, due to the COVID-19 pandemic.

title: Federal Convention (Germany)


text:
John Baptista Ashe (Continental Congress)

John Baptist Ashe (1748 –November 27, 1802) was an American politician and military officer from Halifax, North Carolina.

Biography
He was born in the Rocky Point District of the Province of North Carolina in 1748. He was the son of Samuel Ashe and Mary Porter Ashe (cousin to her husband and first wife). His father's residence was called the Neck and was on the northeast Cape Fear River. His father was to be governor of the state and also brother of North Carolina militia General John Ashe. He dropped the "a" from his middle name and was known as John Baptist Ashe.

He owned at least 63 slaves as of the 1790 census.

Military service
He served as a lieutenant in the Province of North Carolina New Hanover County militia during the time of the Regulator uprising in 1771. Later, during the American Revolutionary War, he served as a minuteman in the Salisbury District, and the 6th North Carolina Regiment of the North Carolina Line (Continental Army), leading the "Majors" company. He fought at the Battle of Moore's Creek Bridge on February 27, 1776, after which the minutemen battalions were disbanded in favor of local militia and the Continental Army. He joined the 6th North Carolina Regiment as a captain and later promoted to major and then lieutenant colonel. He was at Valley Forge and fought at the Battle of Brandywine Creek in Pennsylvania on September 11, 1777; Battle of Germantown in Pennsylvania on October 4, 1777; and Battle of Monmouth in New Jersey on June 28, 1778.

Political career
He served in the Province of North Carolina House of Burgesses in 1775. Ashe was elected to the North Carolina House of Commons (17841786) and served as Speaker of that body in 1786. He was a delegate to the Congress of the Confederation in 1787. In 1789, Ashe was a delegate and Chairman of the Committee of the whole of the Fayetteville Convention that ratified the Constitution of the United States. That same year, he served in the North Carolina Senate.

Ashe was elected to the 1st United States Congress and the 2nd United States Congress as an "Anti-Administration" (what became Anti-Federalist or Democratic-Republican) candidate, serving from 1790 to 1793.

In 1802, the North Carolina General Assembly elected Ashe Governor, but he died before he could take office. He is buried in Halifax.

Family
On October 7, 1779, he married Elizabeth Montfort. They lived on the outskirts of Halifax, North Carolina. They had one child, Samuel Porter Ashe, born on July 17, 1791.

His namesake and nephew, John Baptista Ashe, served in Congress as a Representative from Tennessee.


text:
Heiner Müller

Heiner Müller (9 January 1929 – 30 December 1995) was a German (formerly East German) dramatist, poet, writer, essayist and theatre director. His "enigmatic, fragmentary pieces" are a significant contribution to postmodern drama and postdramatic theatre.

Biography
Müller was born in Eppendorf, Saxony. He joined the Social Democratic Party of Germany in 1946 which was in the course of the forced merger of the KPD and SPD subsumed into the Socialist Unity Party of Germany (Sozialistische Einheitspartei Deutschlands, SED). He was soon expelled for lacking enthusiasm and failing to pay dues. In 1954 he became member of the German Writers' Association (Deutscher Schriftstellerverband). Müller became one of the most important dramatists of the German Democratic Republic and won the Heinrich Mann Prize in 1959 and the Kleist Prize in 1990.

His relationship with the East German state began to deteriorate, however, with his drama Die Umsiedlerin (The Resettler Woman) which was censored in 1961 after only one performance. Müller was expelled from the Writers' Association in the same year. The East German government remained wary of Müller in subsequent years, preventing the premiere of Der Bau (Construction Site) in 1965 and censoring his Mauser (play) in the early 1970s. Yet despite these hardships, Müller's work began to gain popularity both in West Germany and internationally at this time. Many of his best-known plays from this period were premiered in the West: this includes Germania Death in Berlin, which was first performed in 1978 at the Munich Kammerspiele. Heiner Müller himself directed a production of The Mission (Der Auftrag) in Bochum in 1982. In Paris, Jean Jourdheuil directed the world premiere of Die Hamletmaschine (The Hamletmachine) in 1979. English translations, first by Helen Fehervary and Marc Silberman, then by Carl Weber, introduced Müller to the English speaking world in the mid- and late 1970s; Müller's controversial play Mauser was first performed in 1975 in Austin, Texas.

On 17 November 1976, Müller signed together with eleven other writers and artists the petition against the expatriation of Wolf Biermann. Like several others of the signatories, Müller withdrew his signature on 25 November, according to Biermann on the condition that the Stasi would keep it secret.

Due to his growing worldwide fame, Müller was able to regain acceptance in East Germany. He was admitted to the DDR Academy of Arts, Berlin in 1984 – only two years before he became a member of parallel West Berlin academy. Despite earlier honors, Müller was not readmitted to the East German Writers' Association until 1988, shortly before the end of the GDR. After the fall of the Wall, Müller became final president of the DDR Academy of the Arts from 1990 until its 1993 merger with the western academy.

In 1993 it was alleged that Müller worked from 1979 to 1990 as unofficial collaborator (an informant) under the code name "Heiner" for the East-German Stasi. Müller, who at the time was not a member of the East German Communist Party or the East German Deutscher Schriftstellerverband, admitted that he had contact with Stasi officials, but never provided any material.

In 1992, he was invited to join the directorate of the Berliner Ensemble, Brecht's former company at the Theater am Schiffbauerdamm, as one of its five members along with Peter Zadek, Peter Palitzsch, Fritz Marquardt and Matthias Langhoff. In 1995, shortly before his death, Müller was appointed as the theatre's sole artistic director.

During the last five years of his life, Müller continued to live in Berlin and work all over Germany and Europe, mostly directing productions of his own works. He wrote few new dramatic texts in this time, though, like Brecht, he did produce much poetry in his final years. In the last half-decade of his life, Müller also worked towards transforming the interview into a literary genre.

Among his better known works, other than those already mentioned, are Der Lohndrücker (The Scab), Wolokolamsker Chaussee (Volokolamsk Highway) Parts I–V, Verkommenes Ufer Medeamaterial Landschaft mit Argonauten (Despoiled Shore Medea Material Landscape with Argonauts), Philoktet (Philoctetes), Zement (Cement), Bildbeschreibung (Description of a Picture aka Explosion of a memory) and Quartett.

In 1994, he was awarded the IV Europe Theatre Prize.

Müller died of throat cancer at the age of 66 in a hospital in Berlin on December 30, 1995. He is buried at Berlin's Dorotheenstadt Cemetery. Müller's grave was designed by his last stage designer Mark Lammert.

Legacy
Over a decade after his death, Müller continues to have an enormous influence on European playwriting, dramaturgy, and performance. In 1998, the journal New German Critique devoted a special issue to his work. He is the only playwright to have ever received such an honor. In 2009, one of Europe’s leading intellectual publishing houses, Suhrkamp, issued the final three volumes in a twelve-volume edition of Müller's collected works.

Müller has also paved the way for a new generation of directors, playwrights, and dramaturgs who regard themselves as "samplers". Müller adopted Brecht's notion of Kopien (German for "copying"), the practice of regarding texts by others as material to be used, imitated, and rewritten. In regards to Brecht's own oeuvre, Müller stated "To use Brecht without criticizing him is treason." For Müller, the work of other writers and artists was not seen as private property; it was to be used as raw material for his own work. Thus, Müller's work in the theater marks the beginning of a tradition of densely poetic dramaturgy based in the logic of association, rather than linear "dramatic" narrative.

Jonathan Kalb, theater critic for The New York Times, describes Müller's legacy on theatre as replacing the "closed" didactical form of the Brechtian parable with "open" dramatic forms offering multiple meanings based, in Hans-Thies Lehmann's words, on a surreal "montage dramaturg ... in which the reality-level of characters and events vacillates hazily between life and dream and the stage becomes a hotbed of spirits and quotes outside any homogeneous notion of space and time." In reference to Müller, Tony Kushner declared, "Write into the void, learn to embrace isolation, in which we may commence undistractedly our dreadful but all-important dialogue with the dead. Forget about love and turn your face to history." With Müller's work, theater is a forum for examining history; it is "a dialogue with the dead".

Musical settings
Heiner Müller's texts have been set by composers on various occasions. One composer with a particularly strong relationship to his output is Heiner Goebbels, who has collaborated with him directly. Goebbels' Müller settings include the radio plays Despoiled Shore (Verkommenes Ufer, 1984), The Liberation of Prometheus (Die Befreiung des Prometheus, 1985), Volokolamsk Highway (Wolokolamsker Chausse, 1989/90) and The Man in the Elevator (Der Mann im Fahrstuhl, 1988).

In terms of plays turned into operas, Wolfgang Rihm created his version of Die Hamletmaschine in 1987, Pascal Dusapin composed a Medeamaterial (fr) in 1992, and Luca Francesconi's adaptation of Quartett (de) was premiered in 2011.

The Slovenian industrial music group Laibach also collaborated with Müller in his lifetime, and released an album based on in his texts under the name Wir sind das Volk in 2022.

Awards and honors

 * 1959: Heinrich Mann Prize jointly with Inge Müller für Lohndrücker/Korrektur
 * 1964: Erich-Weinert-Medaille
 * 1975: Lessing-Preis of East Germany
 * 1979: Mülheimer Dramatikerpreis
 * 1984: Karl-Sczuka-Preis jointly with Heiner Goebbels for Verkommenes Ufer
 * 1985: Georg Büchner Prize
 * 1985: Hörspielpreis der Kriegsblinden jointly with Heiner Goebbels for Die Befreiung des Prometheus
 * 1986: National Prize of the German Democratic Republic First Class for Art and Culture
 * 1989: Hörspielpreis der Akademie der Künste jointly with Heiner Goebbels for Wolokolamsker Chaussee I–V
 * 1990: Kleist Prize
 * 1994: Europe Theatre Prize
 * 1996: Theaterpreis Berlin (posthumously)

Major works
(Where two dates are offered below, the first gives the date of composition, the second gives the date of the first theatrical production.)

Stage productions directed by Heiner Müller

 * The Mission (Der Auftrag), Volksbühne am Rosa-Luxemburg-Platz, Berlin/GDR, 1980–1983 [German premiere; directed with Ginka Tscholakowa]
 * The Mission (Der Auftrag), Schauspielhaus Bochum, 1982 [directed with Ginka Tscholakowa]
 * Macbeth, Volksbühne am Rosa-Luxemburg-Platz, Berlin/GDR, 1982–1985 [Müller's translation and adaptation of William Shakespeare's Macbeth; directed with Ginka Tscholakowa]
 * The Scab (Der Lohndrücker), Deutsches Theater, Berlin/GDR, 1988–1991 [production also included Müller's The Horatian (Der Horatier) and Volokolomsk Highway IV, Centaurs (Wolokolamsker Chaussee IV, Kentauren)]
 * Hamlet/Machine (Hamlet/Maschine), Deutsches Theater, Berlin/GDR, 1990–1993 [Müller's translation of William Shakespeare's Hamlet staged with the East German premiere of Müller's own Hamletmachine]
 * Mauser, Deutsches Theater, Berlin, 1991–1993 [production also included Müller's Herakles 2 or the Hydra (Herakles 2 oder die Hydra), Quartet (Quartett), and Volokolomsk Highway V, The Foundling (Wolokolamsker Chaussee V, Der Findling)]
 * Duell Traktor Fatzer, Berliner Ensemble, Berlin 1993–1996 [the production was composed of Müller's Volokolomsk Highway III, The Duel (Wolokolamsker Chaussee III, Das Duell), Mommsens Block, and Tractor (Traktor), as well as his working of Brecht's fragmentary Downfall of the Egotist Johann Fatzer]
 * Richard Wagner's Tristan und Isolde at Bayreuth Festspielhaus 1993–1999 conducted by Daniel Barenboim
 * Quartet (Quartett), Berliner Ensemble, Berlin, 1994–1997
 * Bertolt Brecht's The Resistible Rise of Arturo Ui (Der aufhaltsame Aufstieg des Arturo Ui), Berliner Ensemble, Berlin, 1995–present

title: Heiner Müller


text:
Talk:Medical history

Proposed merger with Doctrine of Recollection
I've proposed a merger between this page and Doctrine of Recollection. The discussion of this merger and the discussion of the alternate meanings of this term are related. I don't personally feel confident enough to make the decision. Hopefully someone will! user:Jabot the Scrob
 * Someone below talked about Anamnesis below. I really haven't heard of that term before, so... And I'm sure it's not related to the "philosophical" concept??? 134.148.66.128 (talk) 01:45, 12 October 2014 (UTC)

Past medical history
Medical history is from the past. So why is it "Past medical history"?
 * Are you serious?? Do you study medicine?? PC presenting complaint is where you elicit the CURRENT presenting complaint, and HPC Hx of PC is where you elicit the History of the CURRENT presenting complaint, and PMH Past medical history is where you elicit medical history OTHER than the current presenting problem 134.148.66.128 (talk) 01:39, 12 October 2014 (UTC)

term in psychology
I've removed the reference to the psychological term definition here for the time being.

In psychology, anamnesis means recollection, remembering.

Courtland 04:03, July 23, 2005 (UTC)

Confusion regarding term "Anamnesis"
This is a little confusing to me, a doctor. I wanted to link to medical history, which redirects here. I'd guess that 99% of the people who use the term medical history frequently, and even take medical history daily, wouldn't recognize the word anamnesis if it dropped on them from the sky. I happen to be in the other 1%, and I love Greek and history as much as the next fellow, but I'm not sure that anamnesis shouldn't redirect to medical history rather than the other way around; especially as there appear to be at least two other senses of anamnesis: the particular definition used by psychologists and psychiatrists, which is different than the medical history taken by other practitioners; and the Platonic sense, which is a term used by philosophers, not medical practitioners.

I'd welcome discussion of this: user_talk:ikkyu2; if I don't hear back in a month or two, I'll probably reshuffle this around to make it more clear. -Ikkyu2 21:40, 28 August 2005 (UTC)

 * Kappa's recent new article medical history no longer redirects to anamnesis, fixing the above problem. -Ikkyu2 10:21, 29 August 2005 (UTC)

I too take many medical histories in a day and I have never heard or used the term anamnesis. Lbandler 07:39, 28 September 2005 (UTC)
 * Same here pal! 134.148.66.128 (talk) 01:43, 12 October 2014 (UTC)

discharge summary
I was very surprised to find that WP doesn't have an article on discharge summary (or a disambig page epicrisis), which seems to a more important term and document than a medical history, which is after all included in a discharge summary. It seems this term is the most common one used in both UK and US English, whereas medical case summary seems to be an insurance and legal term for a different kind of document. The terms referral feedback, discharge report, final patient report, and patient report seem to be much less common and perhaps also refer to other documents. --Espoo (talk) 18:25, 12 December 2012 (UTC)
 * You're right. This article has all the information that you'll need. Thanks for your help. --ITasteLikePaint (talk) 00:33, 13 December 2012 (UTC)

Paeds Hx sheet - CUTE AS!
Just wanted to add that the Paeds History sheet is CUTE as! Just one question though, should we include one for adults too?? 134.148.66.128 (talk) 01:45, 12 October 2014 (UTC)

Legend
A legend is someone that tells stories from the past, true or untrue. 105.112.183.197 (talk) 18:07, 20 September 2023 (UTC)

title: Talk:Medical history


text:
Susan Flannery

Susan Flannery (born July 31, 1939) is an American actress and director. She made her screen debut appearing in the 1965 Western film Guns of Diablo and later appeared in some television series. From 1966 to 1975, Flannery starred as Laura Horton on the NBC daytime soap opera, Days of Our Lives for which she received her first Daytime Emmy Award for Outstanding Lead Actress in a Drama Series.

Flannery received Golden Globe Award for New Star of the Year – Actress for her performance in the 1974 disaster film, The Towering Inferno. For her starring role in the 1976 miniseries The Moneychangers, she received Primetime Emmy Award nomination for Outstanding Lead Actress in a Limited Series. Flannery later acted on prime-time shows and made-for-television movies, before returning to daytime with the role of Stephanie Forrester on the CBS soap opera, The Bold and the Beautiful (1987–2012, 2018), receiving three Daytime Emmy Award for Outstanding Lead Actress in a Drama Series in 2000, 2002 and 2003.

Early life
Flannery was born in Jersey City, New Jersey, on July 31, 1939, and attended school in Manhattan. She received her BA degree from Stephens College, a women's college in Columbia, Missouri, in 1962.

Career
Flannery made her television debut appearing in an episode of Burke's Law in 1963. The following year she made her big screen debut playing a supporting role in the Western film Guns of Diablo. She made guest appearances on prime time dramas Slattery's People, Death Valley Days, Ben Casey, The Felony Squad and most notable three-episode act on Voyage to the Bottom of the Sea. In 1966, Flannery was cast as Dr. Laura Spencer Horton on the NBC daytime soap opera, Days of Our Lives, where she met writer William J. Bell (who later cast her in The Bold and the Beautiful in 1987). She played the role until 1975, winning her first Daytime Emmy Award for Outstanding Lead Actress in a Drama Series for her final year on the soap.

In 1974, Flannery starred in the disaster film The Towering Inferno directed by John Guillermin and starring Paul Newman and Steve McQueen. The film received generally positive reviews from critics, and earned around $203.3 million, making it the highest-grossing film of 1974. For her performance, Flannery won Golden Globe Award for New Star of the Year – Actress. The following year, she starred in the comedy film The Gumball Rally. Also that year, Flannery starred alongside Kirk Douglas, Joan Collins and Christopher Plummer in the NBC miniseries, The Moneychangers. For this role, she received Primetime Emmy Award nomination for Outstanding Lead Actress in a Limited Series. She starred in an episode "A Nightmare for a Nightingale" of British anthology series Thriller in 1976 and was lead actress in the 1979 miniseries Women in White based on novel by Frank G. Slaughter. Also in 1979 she played the leading role in the made-for-television romantic drama, Anatomy of a Seduction. In 1981, Flannery joined the cast of CBS prime time soap opera, Dallas, playing Leslie Stewart appearing in 11 episodes during the fourth season. She later appeared in the made-for-television movies Money on the Side (1982) and Shaft of Love (1983).

Flannery became best known worldwide for portraying Stephanie Douglas Forrester on the CBS soap opera The Bold and the Beautiful (1987–2012). She was one of the original cast members of the series, only two of whom still appear (Katherine Kelly Lang and John McCook). She received nine Daytime Emmy Awards for Outstanding Lead Actress in a Drama Series nominations winning in 2000, 2002, and 2003. Flannery was also a regular director on the show and was twice nominated for a Directors Guild of America Award for her work. After 25 years, she decided to leave the show in 2012. In her final storyline, Stephanie Forrester died from lung cancer. Flannery came in at #1 in the Top 50 Soap Actresses of All Time poll on the internet blog We Love Soaps in 2010. Flannery took an active role in the American Federation of Television and Radio Artists (AFTRA), and advocated for securing cable rights and foreign residuals for actors when their work appears in other media. Her efforts have had a positive impact on how The Bold and the Beautiful actors (and other soap actors) are paid when the show is televised in countries outside the United States.

Flannery appeared in two episodes of ABC's situation comedy Hope & Faith in 2004 with other well-known actors from rival soaps. Flannery also appeared as a special guest on Good News Week. She appeared in a special episode of Wheel of Fortune with Deidre Hall (Marlena, Days of Our Lives) and Peter Bergman (Jack, The Young and the Restless) in 2006. Flannery also directed the October 13, 2008, episode of Guiding Light. From 2010 to 2014 she directed 36 episodes of Venice: The Series and in 2017 directed an episode of The Fosters.

Personal life
Flannery has an adopted daughter, Blaise.

Gay rights activist Rita Mae Brown socialized with Flannery in Los Angeles in the mid-1970s. They met through their mutual friend writer and performer Fannie Flagg, with whom Flannery had a multi-year relationship. Brown wrote the following about Flannery in her 1997 memoir Rita Will: She'd been a star in a long-running TV program and had left to take a prominent role in a film. Almost white-blonde, with a heart-shaped face, blue eyes, and a great figure, she appeared every inch a woman ready to become a major movie star. She had looks, talent, and drive. What she lacked was the ability to kiss her ass. Just when her career should have rocketed, it began to drop to Earth. Approaching forty added to the tension.

She is a fundamentally honest person, a decent one.

Word got about [directors and screenwriters] that she was difficult. That was amended to "difficult dyke." It wasn't too long before she languished in her beautiful shared Montecito, California home wondering what the hell had happened.

Were Susan at the same career fulcrum today [in 1996], she'd have a fifty-fifty chance of swinging up. In the mid-seventies, she had no chance. Today she's back on television [in supporting roles and character parts].

Because she didn't marry to play the game, she might as well have announced that she was gay. Other people announced it for her. She kept silent but stiff-armed any attempts to create a bogus heterosexual life. She and Fannie [Flagg] had been together for eight years. The cracks in their relationship widened under the pressure. Many of Susan and Fannie's friends knew they were lovers, but many didn't. The isolation, under the circumstances, had to have been extremely painful for Susan.

My heart went out to her. After my initial visit [to their Montecito home], the three of us palled around together. The more I knew Susan, the more I liked her.

If there had been a way for the three of us to live together, I would have tried it because I grew to respect Susan and value her for the generous and kind person she is. Like her Irish forebears, she engaged her crisis with good humor and the hope that she'd learn something.

title: Susan Flannery