Chapter 14-17 Of A Lot Of Stuff Goes Down ! By Gabriel Garcia Marquez

The plot of the novel is based on the murder of Santiago Nasar, and is rooted in Machismo. The two antagonists of the book Pablo and Pedro Vicario, murder Nasar after finding out he allegedly had sex with their sister,

The opening and closing scenes of the short story “The South” in the book Ficciones by Jorge Luis Borges have a large degree of influence on the way the reader experiences the story itself. The opening scene, for example, very much sets the tone and foreshadows future event in the story through an introductory description of the character of Dahlmann and his background. The closing scene, on the other hand, holds a good deal of significance because it contributes a good deal of ambiguity to the ending, as it is not known if Dahlmann died in the knife fight, died back at the hospital, or died at all. Altogether, the opening and closing scenes both contribute to the reader’s experience of the book greatly as they gave necessary context to

The factories housed the latest technology of the Gilded Age, such as the assembly line. The mass production that the assembly line brought about made the rich richer, but did nothing to help the poor. They were working long hours in sometimes extremely dangerous conditions. The Triangle Shirtwaist Factory fire was considered one of the deadliest industrial disaster in the history of the city. Since, the owners locked the doors to the stairwells and exits - due to theft and unauthorized breaks - many of the workers were trapped with nowhere to go. As a result 147 garment workers died from smoking inhalation and falling to their deaths. In response a newspaper published an article titled “Fire Trap Victims Buried Draft New Law to Save Shop Workers,” covers the stories of the survivors and witnesses as well as questioning who was at fault and what further actions would take place (Document

“On March 20, 2000, he goes to his grandmother Águeda’s house. He stands on the same porch that his mother disappeared from eleven years ago. He hugs Maria Isabel and Aunt Rosa Amelia. Then he steps off” (44).

Of the many literary devices used by writers to make their work more powerful and layered, symbolism is one of the most effective, and Gabriel Garcia Marquez’s Chronicle of a Death Foretold is a text that relies heavily on its use to develop its narrative. The novella recounts, in the form of a pseudo-journalistic reconstruction, the murder of Santiago Nasar in a small Colombian town in the mid 1900’s. Through the course of the novel, Marquez employs various symbols to reinforce key ideas, themes and techniques. This helps the novella break the monotony of a linear storyline and unfolds the plot in a unique way that compounds both effect and meaning.

Although the book’s titular character is Oscar de Leon, he shares chapters with his sister, his mother, his college roommate, Yunior (revealed to be the book’s narrator), and his mother’s parents, the Cabrals. By representing a family with different personalities—Oscar is overweight, and nerdy while Lola is powerful and independent, for example—Díaz creates a microcosm for all Dominican immigrants. Each chapter (and character) in the past is melded into the story in the present, and in this way, the momentum and excitement is never lost until the very last

The passage, with all the descriptive words, had shown the unstable situation, political violence in Haiti. By this passage, readers can see the life in Haiti, the setting of the story. All the protest, soldiers, macoutes, corruption let the Haitians live in the fear, unpeaceful environment. This is the roots, the first reason lead to all the sadness, problems, and tragedy of the characters.

From the outset, García Márquez already establishes the themes of religion and violence with mentions of the bishop’s arrival and images of rifles chaotically bouncing against the walls, suggesting that these themes will play a key role in the novella’s development. The opening line is intentionally vague and non-descriptive, building suspense and encouraging the reader to take part in the speculation, wondering who will kill Santiago. This immediately makes the reader play an active role in the investigation and unwittingly participate in the murder about to unfold as they gain increasing knowledge of future events, just like the rest of the community. For this reason, the true nature of a community is already being explored as we see how easy it is to become implicit in the crimes of others without being truly conscious of what you are

Characters are made to present certain ideas that the author believes in. In Gabriel García Márquez’s Chronicle of a Death Foretold there are many characters included that range from bold, boisterous characters to minuscule, quiet characters but one thing they all have in common is that they all represent ideas. Characters in the novel convey aspects of Marquez’s Colombian culture.

Although prostitution may be one of the world’s oldest professions to this day it is seen as a degrading and disrespectful career especially when regarding female prostitutes. In Chronicle of a Death Foretold, the town is very critical and strict about chastity and premarital sex. Maria Alejandrina Cervantes is the town madam which by society’s standards makes her to most marginalized, but ironically she is not brought down by her society’s rules. Gabriel Garcia Marquez uses characterization and irony to demonstrate Maria Alejandrina Cervantes’s contradictory role and to develop the theme of going against society in Chronicle of a Death Foretold.

In recent decades, Cormac McCarthy has staked his claim as one of the all-time titans of American literature through publishing masterpieces like Blood Meridian, Suttree, and The Road. In his works his advanced level of technical mastery becomes apparent through his expertly harmonized coordination of literary elements toward certain narrative ends, such as the generation of suspense. In this light, McCarthy’s literary style is a practical one, in that he organizes literary elements in his works toward actualizing particular goals. In The Road, for instance, McCarthy directs his style throughout the text so as to maximize the feeling of suspense that readers experience throughout the book. This kind of stylistic maneuvering is expressed on pages 105-110 and pages 118-123 of the the text. But, it must be noted here that the generation of suspense in these passages does not result from similar stylistic approaches. McCarthy uses style in differently in Passage A and Passage B but ultimately toward the same end, namely generating suspense for readers of The Road. Passage A relies on dialogue to develop its suspense, whereas the style of Passage B relies on narrative action for its suspense.

Pedro Paramo is a novel that cannot be fully understood without consideration of its rich cultural background. It is this Mexican background, which informs so much of the novel, providing the main conflict. The narrator of the tale remarks “some villages have the smell of misfortune” while describing the locale of Pedro Parámo, the small Mexican town of Comala where the story plays out on many levels (83). On the surface level, this story is merely about a tyranical man who ruins his hometown of Comala. But in reality he does much more than that, his presence detroys the town completely, driving everyone out and converting the town to a type of purgatory. This deeper harm that he causes, by damning the rest of his townsmen is the evil

Chronicle of a Death Foretold, by Gabriel Garcia-Marquez Works Cited Not Included Chronicle of a Death Foretold, by Gabriel Garcia-Marquez, is a story that brings one to question the code of honor that exists in the Columbian town. Marquez' paints a picture that shows how societal values, such as honor, have become more important than the inherent good of human life. The Vicario brothers' belief that their sister was done wrong was brought upon by this honor, along with racial and social tension. The dangerous path of both honor and religious faith caused Santiago's untimely death.

The critical nature of Santiago’s relationship with Victoria Guzmán allows Márquez to satirize the servant-master and patriarchal complexes present in his portrayed culture. The sexual relationship between Ibrahim Nasar and Victoria Guzmán, parallels that of the relationship between Santiago Nasar and Divina Flor and highlights the social constructs and environment, which reduced Victoria Guzmán into servitude through the juxtaposition of the aforementioned combative personalities of Victoria Guzmán and Santiago. Márquez is successful in the sense that he can create a social commentary on the portrayed Arabic and Columbian cultures while still maintaining false objectivity by inserting variation into separate accounts. Márquez’s uses periphrasis, syntax, and chronological divisions between chapters to subdue overt comparison between the portrayed values of Columbian culture and its societal norms with the conflicting relationship of Victoria Guzmán and Santiago Nasar, effectively shrouding his commentary.

97)This show an example of guilt. The death of Nasar seems to deeply affect the town's people in the future, for instance Hortensia Baute“whose only participation was having seen two bloody knives that weren’t bloody yet, felt so affected by the hallucination that she fell into a penitential crisis, and one day, unable to stand it any longer, she ran out naked into the street.” (Pg. 98) The character of Flora Miguel who was the future wife of Santiago, felt sad and humiliated when she found out about why her