谁嫁给了奥克塔维奥·帕斯？

奥克塔维奥·帕斯（西班牙語：Octavio Paz，1914年3月31日—1998年4月19日），是墨西哥詩人、學者、評論家、小說家、翻譯家、外交官，創作詩、隨筆、小說、政論雜文、文學評論。1914年3月31日在墨西哥首都墨西哥城出生，1998年4月20日在墨西哥首都墨西哥城逝世。

其卓越的詩歌創作，讓他於1981年得到西班牙語文學的最高榮譽塞万提斯奖，1990年成為第10位以西班牙語寫作的諾貝爾文學獎得主，也是继加夫列拉·米斯特拉爾、米格尔·安赫尔·阿斯图里亚斯、巴勃罗·聂鲁达及加西亚·马尔克斯後，第5位获得諾貝爾文學獎的拉丁美洲作家。

他繼承了優美的西班牙和拉丁美洲西班牙語詩歌傳統，在1971年的諾貝爾文學獎得主巴勃羅·聶魯達（智利）、1956年諾貝爾文學獎得主胡安·拉蒙·希梅内斯（西班牙）、秘魯詩人塞薩爾·巴列霍、智利詩人比森特·維多夫羅偉大的文學遺產基礎上發揚光大，《太陽石》被認為是他的得獎代表作品。

Elena Garro (December 11, 1916 – August 22, 1998) was a Mexican author, playwright, screenwriter, journalist, short story writer, and novelist. She has been described as one of the pioneers and an early leading figure of the Magical Realism movement, though she rejected this affiliation. Alongside the works of Juan Rulfo, her first three works: Un hogar sólido (1958), Los Recuerdos del Porvenir (1963), and La Semana de Colores (1964), are considered to be among the earliest examples of Magical Realism in Latin American literature. Garro's writing, despite being mostly theatre and fictional prose, borrowed heavily from poetry and its literary elements. Author and biographer Patricia Rosas Lopategui has described Garro's style as "an attempt to rescue the use of everyday language in the form of poetry". Her style has also been compared to that of French writers like Georges Schéhadé, Jean Genet, as well as Romanian-French playwright Eugène Ionesco, due to the surreal nature of her stories. A close friend of Albert Camus, her works were also heavily influenced by his style and philosophy. She was the recipient of the Sor Juana Inés de la Cruz Prize in 1996.

Her tumultuous marriage with writer Octavio Paz, winner of the 1990 Nobel Prize in Literature, has been the subject of much scrutiny. Garro herself would describe the relationship as "filled with forbiddance, resentments, and rancour for not making each other happy". Despite the hostilities, they are considered among the most talented couple of writers to emerge during the Latin American literary boom of the twentieth century.

Garro is seen as one of the unsung figures of the boom; her legacy was influenced, in part, by her rejection of Magical Realism as she considered the term "a cheap marketing label". Contemporary historians and literary biographers consider her work as seminal and view her as having been as important as figures like Juan Rulfo, Gabriel García Márquez, Julio Cortazar, and others.