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"PLAYING IN THE AGES" Master Craftsman

Morenilla By Antonio Martín.

the floors were really big. Was situated where now stands the town hall square and the street west Ganivet. They came to where he is now house of culture and delimited by the other side with the "Cortijo de la Lorenza." eras in the "husks" corn laughter and games, threshing wheat (remember the piles donkeys turning round with untiring ), dried cannabis and "scrapes" the linen (this was done by the men for what is now the home of culture and consisted of removing the rough edges of the cane and make linen, as if by magic, in something silky hair like a witch).

The ages were one of the favorite places for small fry then. They were a paved area, large (to me as a child, seemed greater still) open and clear that it was best scenario for our games and excursions. SOCCER PLAYERS played there, the rope, the "cop cop" to "brawl" (with the stamp of matchboxes and a large can of tomato such), the yew, the balls, " coward "and a thousand other things that makes my memory of this site is mixed with the sound of laughs, cries, the din of children who day by day, spent most of their leisure time outdoors in the sun or rain, cold or heat. It was then

legend among zagalones, which paved area next to the tracks had to, there were some strange rocks, different from other ... seemed like a kind of human bodies ... they said it was a sign that there were graves Moorish. Those rare forms were always arouse my imagination as a child and I imagined thousand things mysterious. After the houses were, Armilla was growing, and they were gone ... I know, found nothing at all!

Another of the many memories that come to mind related to that place so special was when hemp growers (after catch on and spend some time haza put into water in a pool that was next to "wine gum), and before removing the linen, hung to dry in the ages. Then and now comes the better, so that piled us cottage was fantastic authentic "Indian villages." Children were hoping that the build to play there. Play you play, you run run from time to time, we threw some of the "wigwams "the" Village ", which made the owners leave runs you run behind us, though, as was neglected ... hala! The kids over to play in that great place we Armilla transported directly from the Far West!. Photo

"thrashing in the ages" and "workers of the flax" Pepe Morenilla Archive ..

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Orlando, Fl Gloryholes

LOST WORK.

By Julio Catalá

I talk about some very special people in late 50 or early 60s When I was a Kid 8 or 10 years, were important and essential part of the human landscape of Armilla.


- The the Garbancillo was the most popular among children (I still remember the motto: "the porridge," he said). He carried in one hand, a basket of straw covered with white cloth on the inside filled with roasted chickpeas and on the other hand a bag of raw chickpeas. Inside the basket a square wooden cubiletillo, it seems that I'm seeing, which served as measure for the swap. Hearing their cry, "and veeeennndo Garbancillo caaambio hot!" Time's neighbor came to the door with raw chickpeas. Then the measured and sent back to the lady roasted chickpeas same measure, while crude oil were released into the sack. The gain was that the pea, the tan, the volume increased so did was always less than what she received ... but despite it all came out happy with the operation it was a good plenty of delicious Garbancillo which you take home ready to be eaten by the whole family.

The tinsmith was another peculiar character ("The hojalaterooooooo!) the people attending were broken or perforated pots, pans, urinals .... or other utensils bathed "in porcelain." Required professional sat on the sidewalk with his Infernillo of coal (which had already been on) the welder (wooden handle your piece of twisted wire and the copper wedge) and of course, the tin bar Once hot and being supported by the tool to repair, did it stay like new and without any pores. On occasion, when the hole was too big .... Had some small plates tin soldering around the hole, thus repairing pileup in question to their owners happy, active life again.

- A beloved character was I call "tools repairman several" . wandered up the street and down the street with his slogan: "umbrellas are arranged, lebrííííllos .... It tightens mats!" Let's clarify the question: Of course the only umbrella rods were arranged beforehand that he was collecting ; of umbrellas and unused and the lovingly kept in a media of various sizes. The bowls, plates and springs that are broken and should be thrown away if not for this "remiendatodo" with great skill and expertise of the rear lañaba (previously made tiny holes with hand auger), leaving imperceptible break from the front. Finally, there was another of his specialties, the stiffening of the mats. These were the piers, but the old spring, a coiled wire enmadejamiento that the use was sinking inevitably ... then the good man, with a skill worthy of all praise, engaging screws and turnbuckles and the mat was like new, we could get one or to jump over the springs resist another good season, ensuring a pleasant dream (as long as the mattress outside husks, of course, because sung for a long stretch of mattress you have, the leaves of pussy pricked you and you kneeling on all sides.

And end this brief account of distant memories, can not fail to mention those two women disseminators of news s who were engaged on payment of four shillings by the relatives of the deceased, to go house to house warning of death, hours of funerals, funeral Masses and other events relating to death ("Let I come to warn you that is dead "Fulanito", "Let the mass of" Somebody's niece "is tomorrow at 5.")

Teachers lost jobs that gave them the objects a second, third or fourth life. Professional exchange. Women who, from top to bottom the people, exercising the messenger ... with these four letters I wanted to rescue you from oblivion and give the value you deserve those jobs lost yours.


F Photographs: Welder at the time, owned by the author of this chronicle

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RICO TO FRESH FISH!

A Selection of Valentine memories Alvarez Riesco

; There were two "romanilla" in our town that did not coincide in time. There would be auctioned the "pescao" coming of Motril. One was near the current "Peace Park" in kioskillo of a man they called "Poison" (Man who then put a bar in the main street). The other "romanilla" was at the mouth of Granada Street, next to the door of the bar "Branches", which today is the churros kiosk. They unloaded the truck coming from Motril cargaditos of fresh fish. The "pescaeros" Armilla and all around (Gabia, Churriana, Alhendín, Ogíjares ...) came with their bikes to stock up well in the auction. Later that same bicycle, laden with boxes, was the vehicle used for street vending. It was quite a show the transfer originated right there tomorrow. Many children were going to help with this task and they, our friends and they gave us in return a "puñaíllo" from "pescao" which went straight to our homes ... A pot!.
People with jingles and we rejoiced in the morning cries ("The mackerel, sardines, japutaaaas!) And fish wrapped in newspaper from a cloud of flies. I am reminded, as if it were yesterday, to Luis "the donkey pescaero" . When this man had "All sold pescao" went to the bar "Kiki" to count the profits as they drank a little wine style "Calañas (tintorro the cork had a" tap ") then went for people, Alhendín. It was quite a sight to see about two in the afternoon, almost asleep and on the donkey, who had memorized the way, way "up front" little way of Alhendín.
Victorian Alhendín also, Luxury was the fishmonger, a "pescaero" and "finest." Was specialized in the streets and houses in the center. We'd say the "pescaero of the rich." The Victorian this was a character well castizo zarzuela with his cloth cap and his innate gallantry. Chop, simpaticote, good looking and a joy filled teeth enviable street with their speeches and compliments, making a charming element of the urban landscape armillero.
also remember , Gonzalo, which stood on a street corner Granada, the poor had a traffic accident and died right there on the plains, and "Manolo the Rubic's" Rosario provided with your trailer pescadito cargadito iron rich (his unmistakable cry "Boqueroncillos vivoooooos "!!!)¡, and his son Jaime " that of Tarrana " ... was also" Manolo " sold in the mornings fish with his bike and in the afternoon had his ice cream business, right in front of the three crosses ... .. now from a distance that gives the time and space, to all those people I thank you because, day by day, a little sea brought to my childhood.

PHOTO: Sale of fish 60's Armilla. On the right, with beret, Manuel "The Crispin" and in the center Jaime "El Tarra." Pepe Morenilla file.

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KNIGHT AS FEW LETTERS

Vargas Llosa / Nobel Prize
A true gentleman of letters
Juan Cruz

To THE NATION Sunday October 10, 2010 the rheum of topics. The

of "Conversations in the Cathedral" seems to have no remedy, but the rheum of the topics may be worn away. Hopefully.
That, of rheum, talk later. Now allow me hosting the pages of the NATION, which gives her teaching Mario biweekly, for a brief tour of our editorial autobiography.

that hike is justified here since it was thanks to Argentina, precisely, born Vargas Llosa's relationship with the editorial to which I linked (and I'm still bound by the feelings of memory), the Alfaguara publishing house.
Back then, around 1993, Vargas Llosa published in English and other editors had done, for reasons not related to his books, a long trip through Argentina. When I called back to the hotel I used to stay in Madrid, the Hotel Palace. That was the hotel of Octavio Paz and Carlos Fuentes, and Philip Roth, by the way, and was the favorite hotel of Susan Sontag. Well, there remained the author of The City and the Dogs.

then I could not guess the reason for the call, then Mario used to call their friends to "chismiar", as he says, no other reason than to extend friendship, constantly renewed by him and his wife, Patricia, on the basis of loyalty I've always been exciting.

What I wanted then was Mario Vargas Llosa communicate would not mind to start negotiations for all his work came to end up in the editorial that I represented in Spain. Sure, I had a reader, like so many, reading the books of Mario, was very young teacher who was so impressive buildings like the two books I mentioned and was also the author of The Green House, and War doomsday.

Before a proposal and a young editor (then, still young editor, and also first-editor) has to start trembling. And I did. But I wanted to know why he had made that decision honored us both. Mario Vargas Llosa

, I knew when I became its editor, not a maniac pursuing shelves or windows to ensure they are or how their books. But it has a reasonable concern about the dissemination of his work, so this time it adds a maniac but healthy-obsession to avoid the errors, both in his books and in his columns, reviews and searches like a typo they were going to cut off the hand or the jugular.

Then Vargas Llosa was really pleased with something that had lived in Argentina and I had to do with Alfaguara. He had been in Mendoza, Cordoba, Rosario, and in Buenos Aires, and everywhere he had seen that our books were very well distributed. He so charmed him, thought he had to be in an editorial that had that power distribution and is capable of reaching the most remote places taking such good books, which are the salt of life.

His decision was spoken by him with Carmen Balcells, and we had to move us tab, start that negotiation was not only of intentions but should always be substantiated in very complicated deals in the world of the early skirmishes publishers.

was difficult because these things are not only the will but with the contracts, but was easy because Mario Vargas Llosa had already shown interest in having us "a long and fruitful marriage." It has been, began then. I remember the great Carmen Balcells lying in her bed huge numbers studying Palace Hotel and establishing conditions that ultimately were reflected, with the most and least common in this type of contract, contract to put black on white wishes Mario and our own obligations as editors of all his work.

then that relationship has been very fruitful. Indeed, we have published new books, we have reprinted old and have lived the experience of editing a true gentleman of letters, a simple man fair living by literature but not pull you over the head of literature that you find out its value. That

English experience has been equal to the houses in the rest Alfaguara English-speaking world, from going into a book of his in the publishing, and once the contracts pass the sieve Balcells, Vargas Llosa became a companion in the editing, with those above and those below, and the environment is respectful and straightforward, their demands are sensible, such as himself, and his account of our work (and now on the work of those who remain his editors) dominates over the question, doubt, that arbitrariness.

So working with him, like friendship with him is an extraordinary experience.

And that's where I turn to the crusting of the topic of which I spoke at first. The day Vargas Llosa was awarded the Nobel in Stockholm was in Madrid the film director Oliver Stone, probably in the Hotel Palace, to present his latest film in Spain. As we had just produced the verdict of the Swedish Academy, a reporter asked his opinion about the filmmaker Mario Vargas Llosa. Stone dropped his stone, is a writer whose work does not interest anyone. From there, the author of Wall Street was dispatched to the topics already constitute a rheum around the figure of Mario Vargas Llosa: conservative, arrogant ...

course, Oliver Stone does not need to read books by Mario Vargas Llosa, from the Feast of the Goat at the end of world war and this latest novel coming out now, The Celtic dream to sense the opposite of what you think. It is sufficient to explain what he knows his litany of topics as it is enough for many none of the Peruvian writer to refer to liberal economic positions of Mario Vargas Llosa to justify such a mess of cliches around.
As if Mario Vargas Llosa had no right to maintain, or modify, their own opinions, and write without those views or attitudes public necessarily have to interfere in the literary production that has earned this award and as much consideration as he lives in all countries where their work is known.

Vargas Llosa I asked when it was learned that the Swedish Academy said to justify the award, if the dropped phrase ("for his scathing images of individual resistance, revolt and defeat) would silence his critics , rather than his critics, but those willing to keep throwing invectives at him bleary of topics. He laughed and said: "He who has silenced me. And I think those critics who used topical against me will never be silenced. "And he laughed again.

Neither could assume that just at that moment, fed by the gummy that have distorted the figure of Mario Vargas Llosa, Oliver Stone was throwing the stone of a new stupidity . In short, let him with his films.

What I meant was that perhaps the trial of the Swedish Academy, in addition to the serene and deep reading of the essential work of Vargas Llosa, can cause not yet his books have come to enjoy one of literatures most solid, challenging and stimulating to have given the universe of the imagination in the twentieth century (and XXI).

Enrique Krauze

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LLOSA - NOBEL PRIZE FOR LITERATURE

Vargas Llosa / Nobel Prize

How Long Is Margarita Mixin Bucket Goog

Vargas Llosa / Nobel Prize
passion and reason codes that did justice award

Accurate and obsessively ordered in writing, Mario Vargas Llosa, Nobel prize brand, built a literary building, inspired by the great masters of the nineteenth century is primarily the expression of one vitally committed to its time. A man who favors action in both literature and journalism and political life By Hugo Caligaris

Sunday October 10, 2010 control and, above all, lack of measurement and mold. Edwards account there was no way to convince him. Wanted nothing to do with these experiments, nor with those of Godard and Bergman. It is insanely fun, however, with the American cowboy films of the 40 and 50. Vargas Llosa
When he talks about his favorite novelists, always mentioned in the first teachers of the nineteenth century, beginning with Flaubert and Balzac, but without neglecting other more identified with popular literature, as his beloved Dumas. When I was young, in part by the desire to shock and partly because I really believe he said that the novels of knights-errant style were more Tirant lo Blanc Don Quixote creative: about creating a perfect world, operating with its own rules, the work of Cervantes dissolved only with their taunts.
These inclinations and tastes can be used to understand what kind of artists belonging to the brand new constitution and character Nobel Prize for Literature. Although endowed with a talent for telling such a size that makes it the envy becomes ringworm on his critics, Vargas Llosa is a writer who observes quite accurately gender norms and passing through the filter of reason all the ingredients of their stories. Also, never give rest when created.
"The truth is that the bohemian bores me and tears me apart. I lived in Lima came to fruition, but in general I find impoverishing "he said in explaining why he prefers to work even irregular attacks of inspiration. Canarino writer Juan José Armas Marcelo said that the 70 invited Vargas Llosa to visit in Las Palmas, and the idea was to be the big party with friends. "We started the spree with a Chinese dinner, with lots of drinks, beside the Playa de las Canteras. But at 12, like Cinderella, Vargas Llosa rose from the table and asked me to take him to hotel. ? Tomorrow I have to write eight hours, "he said, to my amazement. On the way back to the partying in Las Canteras, Carlos Barral told what had happened. 'Yes, yes, "replied the Catalan poet with laughter," Mario is the only writer I know who works as a laborer and living like a bourgeois'. "

for the Chilean José Donoso, during the Latin American boom of the 60 Vargas Llosa had been "first class". It sounds perhaps a bit ironic the school metaphor, but it is pretty amazing: thanks to that perfect student discipline, the Peruvian and had written to the thirties three novels can not qualify but master: The City and the Dogs, The Green House and Conversation in the Cathedral.
"I'd like to be one of those novelists of the nineteenth century, competing with God as equals in creating worlds. It was a special moment in the history of the novel. If I should stay with a time, I would stay with that of Tolstoy, Dostoevsky, Balzac, Dickens, Melville. That does not mean you have to write novels in the manner of the nineteenth century, but this grand ambition to imitate novel of the great cathedrals of the genre. In some of my books, I felt that trying to emulate. In The Feast of the Goat, of course, and in The War of the End of the world. In this attitude is naive, thinking that it can tell you everything, you can build a universe as complex and as broad as the human. But at the same time, that this literature was so naive amazing, so extraordinary, "he said here in 2000, when he came to present his book on the Dominican dictator Rafael Trujillo. All of a position, a definition of narrative art.
Peruvian literary critic José Miguel Oviedo thoroughly studied work of the novelist and the novelist himself, and also stresses the "tendency to order and clarity" of its expressive design as a counterweight to the passion "overwhelming and contagious," he puts into his work. "Their stories have a complex symphonic tone screening , environments, times and adventures, but the variegation is always resolved by a rigorous order and almost manic, where every thing finds its place for the apparent chaos adopt a precise figure, "he says.
Rigorous. Almost maniac. Vargas Llosa works with materials that are nearby, landscapes, characters and stories, separated into its parts, measured and weighed, calculated to the millimeter how gather and build with them a world that is both real and different. Julia Urquidi, who was married, is and is not the character of Aunt Julia and the Scriptwriter. The visiting brothels Pantaleon and Piura in the house Green also went through the physical and chemical laboratory of the author. still looking very real but are, in one way or another, also fictitious.
What Vargas said of the singer and Peruvian author Chabuca Granda, author of "The cinnamon skin, it could well apply to himself: "A Chabuca happened the best thing to happen to an artist. The world he invented in his songs and replaced the real Peru is through and imagine and dream that the Peruvian reality millions of people who have never set foot in my country. "
Under the law, reason and order There is nothing that Vargas Llosa can not do with the word. When allowed to escape the irrational (its defense of bullfighting, the windings erotic Notebooks of Don Rigoberto, and Mischief of the bad girl), do it for pure consistency logic, to give a specific space to less distinct facets of his mind. In his work, Vargas Llosa hardly leaps into the void, those races are exceptionally blind the operator to the sublime but often make much more plunged into the ground. Put

The domain amazing body you have about your means of expression and tendency to work on a program might have made him a perfect writer, but cool if it were not for its most controversial: that of putting the body forever. First, the exposure of his personal life. The troubled relationship with his father, whom he believed dead until he was ten years marriage with his aunt in 1955, the subsequent separation and union his cousin Patricia, in 1965, always gave food to their fictions. He refrained, however, to use other episodes, including the famous punch that was applied in 1976 the Colombian García Márquez or by doctrinal differences or because Gabo tried to seduce Patricia. But he could not prevent the episode never ran clear around the world become a sort of unwritten novel.
Second, Vargas Llosa put his body in politics. Few writers can say they have been exposed both in the field. Giving a twist to that beautiful verse on the second Machado da innocence in believing in nothing, Vargas went with the same passion for unrestricted left to right without censorship when he realized that something was amiss with Fidel Castro who imprisoned the poet Heberto Padilla, in 1971.
never went as far as 1990, when he tried to bring his sense of commitment to the polls. Anyone who has been in the Peruvian presidential campaign has been formed to provided an idea of \u200b\u200bhow bad they have the lyricism of a political novel, the rules of marketing, jingles that turn candidates in toothpaste and the popular perception about whether these candidates have or not have the minimum conditions to take control of their affairs. It was obvious that someone without scruples would the great man a fool. And that someone was Alberto Fujimori.
"When Vargas Llosa decided to stand for election to the presidency of Peru, some took a leap of pure shock. Maybe we would lose, for God knows how long, one of our most essential novelists in the shaking of a political dispute that started with the disadvantage of his honesty. It would certainly be the target of all sorts of misunderstandings and slander, and was even likely that he risks his life. It was difficult to accept, even understand. I remember during lunch at a restaurant in Madrid, Octavio Paz took me aside to say, very serious, 'Fernando, you have to persuade her ...' I laughed, 'Man, do not want we do ...'", campaign against his campaign was years later the philosopher Fernando Savater.
And yet, perhaps it is precisely those "crazy" that Vargas Llosa makes the writer he is. It is common tell him: "I like his work, but not what you say or think, but may not be possible to separate the two words: without the intensity that is committed without his outbursts and his statements, perhaps the work not have been so fortunately it was.

In 2005, almost 70 years and above all the glory, wanted to see with their own eyes what happened in Gaza, to tell a series of articles. His praise Margaret Thatcher and, indeed, the Italian premier Silvio Berlusconi, in the name of liberalism bulk earned him quite a few criticisms. Even grievances, to be precise. In 2008, during his visit to Argentina, a group of protesters stoned the bus he was riding Vargas Llosa way to a seminar organized by the Freedom Foundation. Earlier this year, was booed in Chile at the opening of the Museum of Memory, even when backed the candidate Sebastian Pinera. His views have borders or middle ground, "Cristina Fernandez is a total disaster," said a year ago.
But, right or wrong, it is not enough to say softly. It feels like that fish in water that was the title of his memoirs. It is believed with the right to dive fully into the mainstream. In the final analysis, will be those noises which will be converted to the cabinet for later or earlier in novels that are out of time. © THE NATION

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Bells.

A selection of memories Morenilla Antonio Martín.

I now believe that the bells of the church of S. Miguel will play automatically, but in our time, zagalones, we pro s pegábamos ubir to the tower to turn them to replicate real. It was spectacular. An incredible feeling that I remember with vivid clarity. Toulon, Dong, tonker ..! The rope made you almost fly ... And until the tower was moving!

had to be careful because with the wooden part of the hood, you could hit if you were not well attuned to your partner (to play a bell it took two people). The bells of the church tended his name and everything: " La Gorda" (the largest), "The Denmedio" (median) and "Ding" (the smallest).


"La Gorda" just flew away in special cases and on big days like S. Miguel and Easter Sunday and now I live so far from Armilla, I've been many years in Barcelona, \u200b\u200bwhen he gets one of those days, as of my childhood and early adulthood, those bells, the bells of S. Miguel returned to ring the force within me.

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Homemade Pontoon Boat Canopy

ARMILLA and trams. SMALL DETAILS DAILY

Quotes By Famous Latinos

The Nona .- Tito Cossa Roberto

WEDNESDAY 29 APRIL 2009
Roberto "Tito" Cossa: La Nona
This sinister metaphor of insatiable-old woman while waiting on the waiting list turn to address, like so many others, a boat ELMA load their belongings and books heading into exile.

Characters:

La Nona: The matriarch of this family, controls all members this because of their character and their ongoing needs of food, that keep the whole family is always on alert and a continuing and getting worse, economic crisis. Is a strong-willed character, with an insatiable appetite. As main character of this work, creates in the audience, other emotions such as laughter thanks to his relationship with his grandson, chicha, which at all costs was "eliminated" .. And all because this old lady always gets his.

Chicho: Son of Dona Maria and therefore grandson of Nona with whom, from the beginning, has a relationship of unconditional love. This is a lazy artist dressed and thanks his "Nonito" and unemployment Caramel, is forced to work to bring money to his family.

Don Francesco: You will be served by the kiosk. When Chico offers Nona's hand he accepts, believing that the woman who is speaking is Marta, he realizes that he was going to marry the old woman had to give a false legacy and say that is so I was only 1 month old.

Summary:

The story takes place when they are all eating at the table, and Caramel begins to review his book of accounts of the house, that's when informed, the remaining members of the family, and worrying deudosa economic situation. Carmelo

warns Chicho you have to go to work for some money enter the family. Chicho

talks with Carmelo and convinces him to take Nona doctor, to see how much longer you have left.

Caramel Mary and go to a doctor, who tells them that this is a perfect health and will live for many years.

Therefore, Carmelo Chicho insists his idea work, but this does not seem good, since it has never worked and is very loose.

Chicho has other ideas, married to Nona with Francesco and other income would not have to worry about Nona. Chicho

Francesco offers his idea of \u200b\u200bmarriage clear that this thought Martha would marry (he was in love with her) when she said it was Chicho with Nona's marriage, this was refused, until he invented a false Chicho heritage and added that to not Nona was more than 1 month. Martita

worked as a prostitute, but lied to his parents saying he was a pharmacist and had night shifts.

Francesco agreed to these conditions, clear that the only one not happy about the news was Alyuna, because when young, this would have loved ... and so far his feelings had not changed.

After marriage, the Nona and not only made life impossible for his family, but now also to Francesco, who was in ruins because they had eaten everything I had at the kiosk. Francesco

is invalid and old very fast, as it happens Chicho give a cup and send it to the streets to beg.

to all this, Carmelo had lost his job and was unemployed, the economic situation getting worse and had begun to mortgage and sell a lot of things around the house. Thus

is starting to become an alcoholic.

Don Francesco was, finally, the most money raised in 1 day.

Everyone in the house made a double effort to get more money including Anyul who became great by his piano lessons and every time I had more students in 1 day to bring money to eat, and what was worse, to give food to the Nona.

One of those days Don Francesco is not in the place where they left off, never was heard of him and lost that source of income. Carmelo

followed with their addiction problems and should continue to sell household items such as furniture, refrigerator and onto the bed.

One day all leave the house and leave a lit brazier in the part of the Nona, where she was sleeping.

Closing the door, rises Nona leaves the hearth in the dining room and begins to develop eggs.

Chicho, desperate, can not think of a better idea to put poison in the glass of the Nona, for this die at once.

The vessel takes Anyul, who died from poisoning. While

dies after Marta, who have told the family their actual work, they got her customers, all to help financially, so she is exhausted and dies.

Carmelo also dies due to an excess of alcohol in the blood which caused her cardiac arrest. Mary

cobra insurance and gives it to Chico to give food to Nona, and this part to Argentina to live with his sister. Chicho

only with Nona, reached such a point of desperation, because they were all dead or gone, and there was no furniture in the house and had to live and take care of Nona, who grabs a gun.

Aim is for Nona, but then repents and says to himself, pulling the trigger and commit suicide.

So is alive only person who made life miserable for all nearby, the Nona.

to work
Analysis Sets:

The set consists of 2 rooms; The first and most important, is the house which we can see the dining room, kitchen and bedroom Chicho, you can also see the clothes lying. It is an environment humble, no frills.

The other is the kiosk environment Don Francesco, in which the characters exchange some dialogue but still is of no relevance to the work.

Lighting varies with mood change.

Costume

Each costume highlights the character's personality: Chicho's lazy, sloppy, etc. and wearing clothes that are messy and not notice much out of the house. Martita

A highlight was much the costumes because their profession was totally worthwhile, and even if they never said the profession, it was left to the imagination of every viewer.

theater People: Roberto "Tito" Porteño

Cossa, son and grandson of immigrants italianos.Su mother had learned and taught guitar, but recently returned to the piano when she was widowed and the children were great. He grew up under the shadow of two paternal uncles, the youngest, René Cossa, became the first Peronist government and Outreach Director of Radio: "He led the parade of actors and stuff ...", Peronist acts recalls. The other uncle, Miguel Cossa, was also an actor and also belonged to the commercial theater, but it was funny: had their day when it was a character in an undertaker to which Juan Carlos Pinocchio Mareco someone asked him and he invariably responded: Blue was. René and Miguel's uncles were those who objected to the aesthetics, politics and ideology. "It is natural that young people rebel against their elders. Epic political theater, the theater of resistance Cuzzani, Kizarraga or Dragun, we replied with Naturalism. We put two characters on stage saying: Hey how you doing and thought it was total revolution. For killing parents and grandparents write! "

In this atmosphere of family tana, Cossa made public elementary school in Villa Park and Sarmiento secondary school. In reality only through the fourth year: "I was thrown for a joke. We had to write an essay for the October 17 was the anniversary of the death of Chopin. And I did, referring to the October 17, all a game between Chopin and Peronism. The music teacher happened to my composition the director, and director he called my father and said he had no choice but to lie down ... "He

year medical course at the loons and the death of his father should begin to work ... in journalism (like the character from Cichorium nona)

Clarin entered in 1956 and, simultaneously, began to do theater with a group of actors: "It could have been an actor," he admits - but I think it worked on me stage fright, the authors are acting cowardly. "

How did The ninth?

premiered in 1977. Because Alexander was actually born five authors cited Romay-Carlos Somigliana, Rozenmacher Germain, Ricardo Talesnik, Ricardo Halak and I, for a book on Channel 9 TV for a unit with the leading cycle of Pepe Soriano, who already had his character Don Berto, a little old Italian. For us we thought it was a woman, the ninth, instead of the ninth ... And I wrote it. He has some tics of my maternal grandfather who lived with us cocoliche and why they have the old people eating all the time ... I wrote in 1970, Channel 13 finally made two years later, I received only a few compliments. The issue came to the play. The premiered in 1977 and is still doing.

Throughout Latin America, Spain, Italy, France, Germany ... Recently released in Turkey.

When the time came he realized he had a successful play and a working group with the playwrights and Carlos Gorostiza Carlos Somigliana, and made no sense to leave the country. After the success of The

nona-that garnered a Molotov at the door of the theater and therefore more popular - was part Cossa Open Theater, a reaction of the authors tired, annoyed by a kind of official ninguneo in theaters, on state television in which drama schools. Twenty-one authors, all at once doing theater at six pm in the dictatorship, was a move equivalent to

rock and Humor magazines and Satyricon. After that, defeat came the Falklands by the 1983 democratic opening, and with it, its greatest activity. Gray had already written of absence (1981) and Tute Cabrero (1981). Then followed Nobody remembers Friedrich Chopin (1982), on the story of the secondary. And the wind carried them away (1983), Hand and foot (1984), The hoodlums (1985), and Yepeto (1987) another big hit made famous by Dario Grandinetti and still is in Spain ... Years passed and Tito Cossa is sticking to his line, between hope and denunciation: Penguins, released in 2001, speaks of the youth of today, he says, of the need to escape from the reality that exposes them to violence, of failure, marginalization. Posted by Victor
murkier at 14:35 0 comments

Fireman Sam Toothbrush

Of Love and Other Demons .- García Márquez, Gabriel

armenza Kline - Notes on Colombian Literature (ed.)

Of Love and Other Demons: tragedy inquisitorial

Of Love and Other Demons: incinerating the colony Of demons, including love

Of Love and Other Demons: Incinerate the colony

<> <> Isabel Rodríguez Vergara was born in Bogotá, Colombia. He did his undergraduate studies at the Universidad Nacional de Colombia, where he received his degree in Philosophy and Languages. He made both his expertise as a PhD in Literature at Cornell University. Isabel belongs to the Association of Colombian "and is currently the editor of" Studies Colombians. " She teaches courses in American literature at George Washington University in Washington, DC His publications are devoted to various Latin American writers, particularly their book The satirical world Gabriel García Márquez.

This paper will discuss the latest historical novel by Gabriel García Márquez, Of Love and Other Demons (1994) with its nuances magical-realist and self-conscious, that is, that while exposing a story, discuss the process creativo.1 The friction between the texts 'original' of Colombian history and the fictional novel, is matter for meditation in this work. The speech she interpreted as an exploration of Latin American identity in the English colonial system that is built and destroyed at a time by exposing the central character, Mary Servant of All Angels, twelve year old girl (daughter a mestizo and a English marquis), metaphor of the colonized.

Exposing the 'ser'bajo colonialism will be examined by ethnicity, and family, the physical, mental and moral of this young woman, that is, their status as sick and crazy, Santa and a prostitute, characteristics that place it in geographical, medical and moral limits. Servant Mary is located in an undefined border between two worlds: black and white American Indian and European: the world healthy and sick world, the moral and amoral world. María Mandinga disease, his madness (presumably caused by a dog bite), will be seen as political and historical metaphor in Love and Other Demons, while the exorcism and the Inquisition, will be presented as the means of repression to silence the colonized.

Under the apparent story of the brief and intense love story between Mary Servant Angeles All twelve years of age with the priest of the Holy Ghost Alcino Cayetano and Escudero Delaura, 36 years, the discourse of the novel complex debate symbolic systems, during the English colonial period, including the language, rules of marriage and love, economic relations, art, science and religion as the most important feature. Aware of the inability cultures to give all humans the same way into the symbolic order, the discourse of the novel focuses on a woman - usually located at an intermediate point between culture and nature at a level lower than the man to spread its cultural significance. Hence the importance of the role of Mary as transgressive Servant of the colonial order.

the fruitful and ambiguous title of the novel suggests the state of love (between two offenders in a colonial system) as a demon again, while the narrator identifies several times in fiction the "demon" as the number of prejudices aroused in Maria Servant repressed instinctual drives that projects to the outside world (seizures obscene, idolatrous jargon barking, screaming, aggression against others, etc), interpreted as disease. 2

The novel opens with two introductory pages untitled} ra Mane prologue (gesture similar to the volume of Strange Pilgrims, 1992) emphasize two relevant events to the creation of the novel: first, the prominent position the narrator as a reporter who witnessed, in the year 1949, witnessing the emptying of the burial crypt of the former convent of Santa Clara, sold and to build a five star hotel. There he found "the news", ie the body of Mary Servant of All Angels, with long hair "twenty-two meters eleven inches, (11) (referring to the hair under the heading of Santo Tomas in the novel) protagonist of the story, in the midst of disorders of the bones of three generations of bishops and abbots, among others. The event will witness the "news "gives authority to the narrator, while the speech is identified with the group of writer-historian and archaeologist, rescuing all subjects (bodies), classifying information (bones) and identifying the objects (words) .3

The second event announced in the prologue, which calls into question the authorship of the novel, is the happy coincidence to have found the body of Servant Maria de Todos los Angeles with his splendid and magical hair, the source of the legend that her grandmother had as a kid home turn, the text of the novel. An elusive legend (oral), a budding archeology (nasal bones in wrong) and an autobiographical episode, are cited as sources of the novel that he began to build in 1949, three centuries later events have happened and published in 1994 forty-five years after the dismantling of the cripta.4

However, García Márquez does not count in his introduction, which in addition to oral legend that her grandmother passed, Servant Mary exists in the 'Official Story' of Cartagena Indian texts, which by its open 'Coincidences' and knowing the investigative rigor Colombian writer, surely consulted. I refer to the 'witch' Lorenza Acereto, tried by the Tribunal of the Inquisition in 16135 García Márquez then, would be rewriting the text of a historical case of a victim of the Inquisition in Cartagena de Indias in the seventeenth century (which exceeds the mere legend in detail) as an excuse to recreate the cultural conflicts dramatize a colony situation, akin to the fictional anthropology and psychoanalysis as hermeneutic disciplines (since they all revolve around the study of meanings). The narrator-analyst, serves as a kind of interpreter establishing communication between the various sectors of power (the state, church, text), the loyalty of García Márquez here do not seem inclined towards the discourse of colonial power and not the central character searches for a position 'culturally acceptable', but rather, a fair acceptance of the culture of 'other' (the colonized).

's speech rightly novel dramatizes the intricate process of cultural interpretation in both anthropology and in history, a process that ultimately dissipates in the fictional language signs. The famous commentary of the controversial anthropologist Clifford Geertz, which states: "Cultures can not be seen through objective truths. They must register and be seen as a novel. Societies and lives, contain their own interpretations "6 -, is comparable to the contradictions of interpretation and historical imprecision of language, unaware of the exact sciences research, which alerted and Hayden White. 7 García Márquez also confuses history and novel to the point of declaring that he wrote, The General in His Labyrinth (1989), a novel about Simon Bolivar, "write the true story of Colombia ... not the official story, to tell us in one volume how that country into a novel. "Adds that estimates that he wrote the true story Bolivar. 8 And as it happened that the passage of the slaughter of the banana workers in One Hundred Years of Solitude fiction went to the official story, no surprise that the novel of Bolivar and the Acereto Lorenza Distinguished acquire the range of 'stories'. García Márquez, following a framework of cultural anthropology, (defined it in situations of colonial power), finds the behavior of a community, explains his actions and attitudes to understand and classify them in the light of wider contexts and more specific time and space that is more historical. However, the text of the novel, like history, can not be objective or scientific, is interpretation and therefore ideological.

The text of the 'official' story and the fictional are discussed creating friction, overlaps and contradictions, and ultimately, fiction-making, and painting by Botero, ideological twists predictable with knowledge of the writer's previous work Colombia. As the novel Servant Maria Lorenza (the witch) was born in Cartagena de Indias, the first daughter of a English marquis and a mestizo, the second daughter of a Genoese adventurer and one English. The Acereto down in Cartagena de Indias for the year 1585 and Lorenza born in 86, the parents of Mary Servant, Ignacio Alfaro de Dueñas, second Marquis of Casalduero and Lord of Darien and Bernarda Cabrera, living in the seventeenth century. The family unit of two girls is lacking for several reasons: Servant Mary, for lack of love between parents, in Laurence, due to the death of his mother and dedication to the business of his father. The first falls in love at twelve years of a priest and poet called the Holy Spirit Alcino Cayetano and Escudero Delaura 36 years of age. The second marriage at the age of eleven years with a 38. Servant Mary confronts the English culture to fall in love with a priest, speaking African languages \u200b\u200band dress like black, Lorenza, in turn, marries out of love with a man who is unfaithful on numerous occasions and have children with him, until, tired of his abuse decides to have a lover and make use of the witch to get rid of her husband, according to the interpretation of historians who have written about his case. The time in two different stories: the 'story' of Lorenza covers up years of his adult life, but focuses on the inquisitorial process, the Handmaid of Mary tells about five months of his life, accumulated details of his illness, exorcism, imprisonment, being in love and death. Both suffer the process of the Inquisition, charged with similar offenses relating mainly against the Catholic faith: for using magic, superstitions use a mixture of sacred matters profane and invocations of the devil in pursuit of the future 'belongs to the operator', as the inquisitors Lorenza is accused particularly well, having been dishonest life and undermining the integrity of her husband. The indictments Sierva Maria, although similar to those of his double, poeticized appear in the discourse of the novel, however, García Márquez interfere to add your own, or exaggerate the existing against the settlers, bringing the discourse of the novel to limits. We could condense these 'fluoride concentration' in two outstanding features: first, the relationship of Mary Servant, culturally black African, a white priest, and second, their disease (invented by settlers). The end of the two 'stories' asymmetrically also marks the conviction of the narrator, the colonial system. Lorenza While in the original story, ironically received a mild sentence of two years of voluntary exile in the city of Cartagena, some penance and the payment of four thousand crowns of Castile, (due to the weight of the family that had three Acereto family in the Holy Office) Mary Servant self-condemnation of suicide after losing his love and to their inability to survive the Colonial system. Gesture is meant as an indictment of that system García Márquez.

The narrator usurps the role of the analyst in this novel, and deconstructs his 'subject' of analysis through complex processes of meaning. There is therefore an absolute inseparability between the terms 'subject' and 'speech', the human subject is the subject of semiotics connected with psychoanalysis, the significance occurs only through discourse. 9 The 'subject' is here a woman, Servant María de Todos los Angeles, defined by your subconscious and cultural determination (conscious) woman 'exposed' as a product of colonial historical speeches, including ethnography and psychoanalysis.

Summarize the characteristics of the subject Servant of All Angels Mary or Maria Mandinga, and see how to 'build' its reality, ie its significant activities, culturally specific and generally unconscious. His birth, physical appearance, children, location and language, their tastes and inclinations, the perception of others towards her, and her status as "sick" put this character in the border in permanent borders between the two worlds: black and white European American, the world healthy and the world of madness.

The description of the family and Mary Servant language will be vital for the formation of their subjectivity and cultural field. Born in a position limit, bottlenecks, undersized and unloved: English father, with features some mental retardation, and rejected by his mother mestiza.10 The name, children and the cultural and geographical environment of this character are also border: thesubject its English name without a surname with the African name of Mary invented Mandinga, this character is Double also by its environment culturally English (daughter of the Marquis de Casalduero, and the plebeian, Bernarda Cabrera) and African (nursed, reared and made baptized under the tutelage of the black yuruba-Catholic Sunday of Advent, a symbol of "liaison the two worlds. "However, Servant Mary recognizes Sunday as his mother and chooses to sleep with the slaves, dancing and dominates several African languages, dress in African clothes and necklaces familiar with them and celebrate with fireworks and music, his twelve years. Servant Mary chooses and builds their African identity as Maria Mandinga: yuruba speak the language, refuses to learn English mainland, to read and write and take lessons in arithmetic.

well as its origin and rearing two-color stain, physical space fluctuates between displacements of both worlds: that of the masters (the home of their biological parents and white) and the slaves (the yard and buffer zones ) they inhabit the rest of blacks and Dominga, her "mother's milk '(not biological, questioning the family and cultural heritage). Three

'failures' in Servant Mary activate the condemnation of exorcism and the process of the Inquisition: a social, moral and kinship. His 'missing' social, lack of English surname, the apparent illegitimacy, denies the father's presence and marks its lack of power against the settler. Instead, it independently, replaced the white with African identity under the name Maria Mandinga, at its option and in defiance of the colonial laws of kinship. The second 'missing' is moral: to be questioned also on their moral integrity in the future, located on the border between holiness and prostitution, according to the wishes of Domingo Sarmiento (stating that it would be a saint) and his father Ignatius Alfaro Dueñas, segundo marqués de Casalduero y señor del Darién (al afirmar que sería puta) (59-60). La tercera 'falta' es física: María Mandinga tampoco es 'normal', padece de alguna enfermedad, ante los ojos de los blancos: la rabia, la posesión demoníaca y la locura, se confunden en una sola, en una época en que medicina-religión y superstición estaban indiferenciadas, como bien nos lo recuerda Michel Foucault. 11 Dicha dolencia físicamente marcada por la leve señal en su tobillo izquierdo, de mordedura causada por un perro supuestamente rabioso, enfatiza una funesta 'diferencia' que la conducirá a la muerte; psíquicamente, su comportamiento abierta y malsanamente African daughter of a noble white and mestizo ruling threatens the cultural order and therefore should be checked by legal means of the Inquisition.

And so Maria Mandinga, on suspicion of demonic possession dictated by the Bishop for "obscene seizures and barks in Slang idolaters" (76) is intemal to the Convent of Santa Clara, where the lead symbolically dressed Juana Loca on Palm Sunday, to "disappear in the flag of the buried alive" (84). Take it to the last cell, next to the flag that served as a prison of the Inquisition, "a ninety-three days after being bitten by the dog and no symptoms of rabies "(87), while it is called" spawn of Satan "by the nuns, but encouraged by the black slaves who guard the prison. From this moment, anger (virulent disease transmitted by animals) and possession of demons (illness fabricated or 'interpreted' by the Church) will merge into one in this character should be submitted to exorcism (ceremony used by the Catholic Church to cast out demons from people who have fallen under his power), as ecclesiastical law which follows the European rules of the Inquisition.

In an environment intimidated by the Holy Office, the discourse of the novel debate the meaning of 'encounter of two worlds': the black African in America (product of the slave trade) and the English white (which dominates the government and legal institutions), underscores the fine line dividing practice (black) black magic and rituals (white) exorcism favoring the former, since it is slaughtered animals, while the exorcists and the "Holy Office is pleased (n) butchering innocent people in the rack or roasting alive in public entertainment" (98). It contrasts the effectiveness of the medicine-blacks to Europe; questions English cultural values \u200b\u200band attitudes such as persecution and prejudice against Jews and the importance of honor, noted that the Inquisition 1300 was sentenced to medical or related professions, to different terms or the bonfire, in fifty years.

Abrenuncio is intentionally a Jewish doctor, jealously guarded by the Holy Office, who exposed and revealed in all its scientific authority, the unfortunate examples where rabies had been confused, the possession by the devil, as some forms of madness and other disorders of the mind (155). Denies privately, in turn, the supernatural powers of the child (levitation or fortune-telling and holiness), impotent and painfully convinced that no one would decide against the popular credulity. In terms of authority spiritual turn, the priest and poet of the Holy Spirit Alcino Cayetano and Escudero Delaura, is not demonic possession but identifies and explains the reason (that Garcia Marquez wants to lead readers) of the reactions of Servant: "I think what seems demonic are the customs of the blacks, that she has learned from the neglect of parents "(124). It is then that black culture is on trial for the Europeans and should be exorcised, and Servant Mary serves as a scapegoat. However, the text claims and accuses the black culture to Europe, destroying the values \u200b\u200bof the settler, saying the same Delaura referring to the Abbess Josefa Miranda: "If someone is possessed by demons is Josefa Miranda, "he said." demons of hatred, intolerance, stupidity. It is detestable! "(128). 12

García Márquez is doubly articulated in this novel the history of individuals on the unconscious of culture and the historicity of the cultures on the unconscious of individuals, opening undoubtedly the wider issues that may arise in relation to the name.

And finally, talk of love, as another demon from the European point of view, is also a cause of transgression in this novel. Love, partly unconscious partly cultural construction, between the girl and the priest, allows the narrator explore theological dogmas and principles of the Catholic faith (such as the idea of \u200b\u200bsin, the institution of marriage, the lack of soul in the Indians, and animality of blacks, the origin of serious racial prejudices prevalent in the twentieth century) , much debate and dialogue.

With the emerging passion and love between Delaura Servant Mary, the priest, whom the bishop describes love as a feeling, against nature ', transfers to and contact time, the love language of the Gospels to Neoplatonic Garcilaso de la Vega in the many instances in which targets worshiping Mary Servant: "For you I was born, I have a life for you, for you I die and you die "(119). 13 He confessed that" he had a moment without thinking about it, that the eating and drinking tasted it, that life was her all the time and everywhere, as only God had the right and power seriously, and that the supreme joy of his heart would die with it "(169). Love, an issue that dominated the sixteenth century English literature, is recreated in this novel transplanting Europe two literary topics beautifully expressed: the courtly love and the locus amoenus. 14 That love affair between Monsignor Cayetano Delaura at thirty-six years old and twelve Servant Mary, born in prison as a healer-patient relationship, through a language that is appropriate and corrupts both the medieval and Renaissance topic of courtly love, whose expression is the struggle of a woman unattainable lover. The discourse of the novel is imbued with voices of troubadours, in which mostly hear the song of the lover Delaura (trans-clay by the interruption female Servant Mary) of love poetry of Garcilaso de la Vega (1501? - 1536), who recite live lovers and misrepresent offenders, set in a prison garden and dreamed of literary self-creation constant (Eternal Spring).

As courtly lover, Delaura sees love as a desire that grows and is never satisfied, as a force ennobling, which pays homage to the beloved, while Servant Mary used to watch the free love of the black, is surprised by the tortuous suffering of his beloved. In the novel, the two lie alongside each other without making love, but their fill of talk about the evils of love: "wallowed in the swamps of desire but the limit of his strength, exhausted but virgins. For he had decided to keep his vow to receive the sacrament, and she shared "(172). Over time, the passion of Delaura will become, according to him, confesses to demonic possession after undressing Bishop, Brown, and self-flagellation, "It's the devil, father o. The most terrible of all "(159). Delaura erotic love can only be synonymous with the devil, his honest confession to the bishop was more like a judicial proceeding, after which Delaura is sentenced to serve nurse lepers in the hospital of Love God, where you can not return to see Mary Servant.

The theme of the locus amoenus is part three times in the novel through successive Delaura dreams and Servant Mary. While Archbishop Cayetano Delaura investigates demonic possession of Servant Mary Dreaming about:

Servant Mary sat at the window of a camponevado, plucking and eating them one by one the grapes from a bunch that were in his regazo. Cada uva que arrancaba retoñaba en seguida en el racimo. En el sueño era evidente que la niña llevaba muchos años frente a aquella ventana infinita tratando de terminar el racimo, y que no tenía prisa, porque sabía que en la última uva estaba la muerte (102).

En la cuarta parte de la novela, ante el asombro y temor de Delaura, Sierva le relata haber soñado el mismo sueño (144). En la escena final de la novela, surge una fatal variación: en lugar de arrancar Sierva las uvas de una en una lo hace "de dos en dos, sin respirar por las ansias de ganarle al racimo hasta la última uva" (198), y así, queda muerta de amor. García Márquez ha transgredido el tópico del locus amoenus, the fertile literary renaissance garden constant self-generating life, this novel becomes a garden of death. Prisoner of the Inquisition and away from their African identity, losing his love, the only existing bridge with colonial culture, Maria Mandinga, chooses to die (a death that yuruba white and continues to live another life) 15 Al become aware of their status "scapegoat" of the colonial system to punish the 'demons' Hispanic Americans repressive means of exorcism and the Inquisition, Servant Mary chooses to let himself die as a sign of defeat and protest to the European world. Their "being" lost in the politics of colonialism. America for Manding-European girl has ceased to be the intended and Renaissance literary paradise dream to become a tomb where the only thing left is to hasten his death: suicide.

And thus ends the legend of love that the author once heard him tell his grandmother.

1. Gabriel García Márquez, Of Love and Other Demons (Bogotá: Norma, 1994). I will quote from this edition. The concept of historical novel in Latin America has been recently studied by Seymour Menton in Latin Amethyst New Historical Novel (Austin: University of Texas Press, 1993). Back


2. Sigmund Freud, "A demonic neurosis in the seventeenth century" 1992. Quoted in Moses Lemlij, "what about the nuns of the Convent of Santa Clara: a look psicoamlítica" in Luis Millones and Moses Lemlij, ed. In the name of the Lord (Lima: Biblioteca Peruana de Psychoanalysis, 1994). The demonjio for Fred} you could be a figuera peterna, and demonic possession would be what today means neurosis, disguised as organic diseases. The Devils would be repressed instinctual drives and projected abroad, as Lemlij says. Back


3. The rudimentary nature of archeology in the novel reads: "The foreman was copying data in a cuademo tombstone of school, he ordered the bones in separate piles, and put the sheet with the name on each one so as not to confuse. So my first sight on entering the temple was a long row of mounds of bones, warmed by the barbarous October sun that got into a jet by the breaches of the ceiling, and no more identity than the name written in pencil on a piece paper. Half a century later I still feel the wonder that testimony that caused me terrible overwhelming passage of the years. "(10).
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4. The text says:" To me, however, did not seem so trivial, because My grandmother told me about the legend of a boy of twelve marquise whose hair you like a tail swept a bride, who had died of rabies from the bite of a dog, and was worshiped in the Caribbean peoples for his many miracles. The idea that the tomb could be yours was my story that day, and the origin of this book. "(11).
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5. In Manuel Roof Femández, aspects of social life in Cartagena de Indias ( Sevilla: Escuela de Estudios Hispano, 1954). Chapter H (1945-1979), tells the story of the witch Lorenza Acereto. Events in life are taken by Roof Fernández National Historical Archive, part of the Inquisition. So today do not know any critic who has made this assumption that interpretations of love and other demons as historical novel basada en el 'caso' de Lorenza de Acereto.
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6. Véase, Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973). La traducción de la cita es mía; la original de Geertz reza así: "Cultures were not to be seen through for the objective truths undemeath. They had to be entered and understood, like a novel. Societies, like lives, contain their own interpretations," (New York Times Magazine ,April 9,1995, 46).
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7. Hayden White, "The Historical Text as a Literary Artifact" en The Writing of History: Literary Form and Historical Understanding. Edit. Robert A. Canary and Henry Kozicki (Madison: University of Wisonsin Press, 1978), (41-62). Back


8. In Maria Elvira Samper, "Interview with Gabriel García Márquez", Semana, 14 March 1989, pp. 27-33, p. 28. For a discussion of this novel see my book, the satirical world of Gabriel García Márquez (Madrid: Sheets, 199 1). Back


9. For an analysis of the relationship between semiotics and psychoanalysis, see Kaja Silverman, The Subject of Semiotics (Oxford: Oxford University Press), 1983. Back


10. It is interesting as the text describes his birth on the verge of death. Servant says Mary was close to the physical constriction by the umbilical cord and survived miraculously. Appearance of "tadpole colorless, and the umbilical cord wrapped around its neck was about to strangle" (59). Back


11. See Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (New York: Random House, 1965, 1988). Referring to life in asylums in the eighteenth century in France, Foucault points out the indefinite and confusing the concept of madness, much like the confusion between anger, demonic possession and madness in the love and other demons. Says, "between madness, false madness, and the simulation of madness, the indistinct-identical limit Symptoms WAS confused to the point WHERE transgression Replaced unity; weitere Still, medical identification thught finally Effected all over Which all Westem Thought Since you Hesitate Greek medicine: the identification of madness with madness That is, of the concept with the critical medical] concept of madness. "(276-77).
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12. The section of love is part of a paper read in Vienna, Austria in the "Third Meeting of Latin American writers," 8 to 12 October, 1994
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13. In many instances represents the courtly love love poetry not only of Garcilaso de la Vega, but the tradition of Italian Francesco Petrarca (1304-1374) considered the first great Renaissance humanist whose influence was decisive in poetry English, especially their songbook and wins their love inspired by Laura de Noves. García Márquez reinterpreting, adapting the idea of \u200b\u200b"Sonnet X" Garcilaso speaks of the beloved garments. Al took the suitcase to Servant that his father had sent Delaura "put things one by one on the table. The known, the avid desire smelled a body, the Arno, and spoke with them in hexameter obscene, until could no longer "(159). The tone of love beyond death Delaura transmits it was sure who "had no heart for Servant Mary, and yet not enough. I was convinced there would be no oceans or mountains, or laws of the land or sky, no power of hell that could separate them "(165)
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14. For a definition of courtly love, see Ed Alex Preminger, Princeton Encyclopedia of Poetry and Poetics (New Jersey: Princeton , 1965). pp. 156-159. Deyermond In AD, History of English literature. The Middle Ages, (Barcelona: Ariel, 1973) discusses the locus amoenus, the prairie like a traditional mole Latino rhetoric, represented as a clear forest or garden often is the setting for amorous events. Gonzalo de Berceo, born in the late twelfth century, in the Miracles of Our Lady is honored tradition in medieval English development of this topic, a topic that continued in the Renaissance (109-123). Back


15. The Yoruba believe in reincarnation. Death, for them, marks the transition towards the 'other life', the majority of Yoruba symbolism of the rituals of burial, revolves around a journey. See JS Eades, The Yoruba Today (Cambridge: Cambridge University Press, 1980), 118-143.


Back Of Love and Other Demons: tragedy inquisitorial
Of Love and Other Demons: incinerating the colony
of demons, including love

Is Three Months Accurate For A Hiv Test?

Of Love and Other Demons .- García Márquez, Gabriel


Racism utopian Love and Other Demons by Gabriel García Márquez <> <>

Maarten Steenmeijer Radboud University - Nijmegen, Netherlands

Summary: According to Gabriel García Márquez
, it is regrettable that over the centuries America has been understood and interpreted according to criteria other. However, in his narrative the Colombian writer, and railed against Western hegemonic paradigm, also part of it, as exemplified by the representation of black culture and identity in Love and Other Demons, idealized and, in turn, garciamarquiano marginalized in the discourse, as expected show in this article.

................................................ ..............................
In colonial society depicted in The Love and Other Demons, the latest and extraordinary novel by García Márquez, the presence of Indians is low and, moreover, is restricted to the world of the Creoles of focus in history. These three characters: Sagunta, an old Celestina, the deacon who plays host to the bishop's palace, and the father of Bernarda Cabrera (Servant's mother Mary). In fact, this is a mestizo who, thanks to his energy and cunning, has gained a social and economic position in society negligible colonial. His daughter extends these qualities, becoming an avid, calculating, ruthless, merciless and lascivious that seduces abruptly to the second Marquis of Casalduero to be his wife. Unscrupulously then neglects her daughter, devoted to trade with great fervor and passion for Judas Iscariot, a former slave to become a bullfighter and gigolo, who spread a fatal addiction to fermented honey and cacao tablets, by which the 'mixed wild call mostrador'1 aristocracy will inevitably transformed into a ruin. Add to this that she, after the death of her lover, insists on meeting his 'eagerness to satisfy a military belly' (ibid.) with blacks in the mill of the family and the conclusion seems justified that the wife of Marquis is a one-dimensional character, such as the rigid and unforgiving abbess of the convent of Santa Clara. Unlike what happens with the nun - a symbol of Spain more self-absorbed and dogmatic - but towards the end of the novel adds a constituent tragic to life and person of Bernarda Cabrera when it opened his chest to husband, takes stock of a soulless life and failed.

This does not mean that it is consistent to consider Bernarda Cabrera and his father and perverted people for a society based on a racist mentality that causes harmful ambitions and aspirations in interracial subjects, motivated or encouraged by their identity and insecure and shifting position, do not hesitate to seize without scruple , any opportunity to raise the economic and social ladder. It is revealing, for example, Bernarda Cabrera does not mind Mary Servant disease by fatal consequences but the potential social consequences.

One of the most ruthless representatives of the colonial system is, without doubt, the Marquis de Casalduero, a slave trader who, thanks to 'his master swindler and venality of the customs' was' the luckiest individual handler his century. " (61) His son, 'Don Ygnacio de Alfaro and Dueñas, second Marquis of Casalduero and Lord of Darien "(16), is a caricature of the aristocracy embodied by his father

Ygnacio, the sole heir, showed no signs of anything. He grew up with certain signs of mental retardation, was illiterate until the age of merit, and did not want anyone. The first sign of life that he met twenty years was that was willing to love and marry one of the inmates of the Divina Pastora, whose singing and shouting rocked his childhood. (49)

The representation of the Marquis rubs caricature or even grotesque, but when following the illness of her daughter begins to worry about it, takes on a dramatic scale and human. Likewise the role of Bishop Toribio de Caceres and exceeds Virtues the high representative of the official religion and faithful executor of the practices of the Inquisition:

He wore sandals and a peasant blouse with pieces of coarse canvas LUID for the abuses of soap. The sincerity of poverty was noticeable at first glance. However, the most notable was the purity of his eyes, only understandable by a privilege for the soul. (74)

Given that 'any inquiry or exorcism has authorized and conducted under the direction of a bishop' (Palencia-Roth 1997: 120), it would be impossible, even assuming that tried to don Turibio Cáceres Servant to bury Mary on the altar of the chapel the convent of Santa Clara, sacred place and, therefore, not obvious to an alleged possessed by the devil did not show even the slightest trace of repentance.

With all this, it is difficult to agree with Margaret Olsen when he says that 'no person of the elite colonial Cartagena de García Márquez [is] a full and faithful participant in their systems of exclusion and repression. On the contrary, each has built or revised to fit within the parameters of colonial power, with the exception of two characters: Abrenuncio and Servant Mary. " (Olsen 2002: 1078) can be added to Abrenuncio de Sa Pereira Cao is a dissident who is conspicuous by its presence illustrated in a world governed by outdated dogmas and prejudices scholastics. With his ideas on a sweet death for patients without another perspective that a long and terrible agony, the doctor reveals himself as a defender even avant la lettre of euthanasia. Note, however, that the doctor also embraces beliefs that do not correspond with the empirical and rational paradigm of the Enlightenment, as is his conviction that robertredfordiana 'lack of communication with horses has been delayed to humanity. " (41)

The intellectual effort and critical thinking are paralleled Jewish doctor in disbelief Cayetano Delaura scholar father, although he is distinguished to him through his intense sexual sensitivity, which is fully revealed when, dealing with the exorcism of Servant Mary falls in love with the daughter of the Marquis bitten by a rabid dog and accused of being possessed by the devil.

be concluded, therefore, that the colonial elite represented in the novel and starring garciamarquiana ambiguous characters such as the Marquis, the bishop, doctor and father love, it shows as a community no fixed course, unstable, confused, upset or even lost. The following dialogue between Delaura and Abrenuncio, the two most enlightened characters in the story, I think it illustrates this point:

"At my age, and with so many blood cross, I do not know for sure where I'm from, "said Delaura. "Not who I am."

"Nobody knows these realms," said Abrenuncio. "And I think ever need to know." (155)

The qualification 'with so many cross blood' seems key in this context. In García Márquez's novel, miscegenation is not the promise of a cosmic race that combines the best of each of its constituents but fracaso2, confusion, decay, ruin

[Bishop h] ablo's hodgepodge of blood that had been made since the conquest of English blood with the blood of Indians, those and those with blacks of every stripe, to Mandingo Muslims, and wondered whether such a conspiracy could be in the kingdom of God. (140-141)

At best, the rhetorical question at the end of this quote pulls back some of the mystery surrounding the mysterious death of Father Thomas Aquinas de Narvaez, the priest who "was fascinated by religion and African languages, and lived as another slave among slaves' (181). At the request of Bishop, who for health reasons can not continue the exorcisms of Servant Mary, Father Thomas is presented in the convent of Santa Clara and, gaining the confidence of this and also that of the abbess, confirming its identity bridge between two cultures separated by vast differences. For reasons that neither the narrator is able to clear the next day found the body of the father in the well of Gethsemane, the slave quarter where the priest lived. If it is true that this mysterious death allows many explanations or interpretations - a natural death and lonely, a murder committed by one (s) of the parishioners of the neighborhood, an allusion to the violent death of Pier Paolo Pasollini - so is that it perfectly in the context of confusion, or even curse fate suffered by the ruling class represented in Love and Other Demons.

Servant The premature death of Mary can be interpreted as a symptom of a long and stubborn tradition full of bigotry and intolerance, while troubled by an intricate and confusing cultural identity. The contrast between this culture and adapted by Mary Servant is as sharp as significant: it is manifested as a solid, strong, stable, and I would add innocent and pure. Grown and raised among blacks, the girl has incorporated the beliefs, ways of being, rituals and languages \u200b\u200bof the ethnic groups of African origin, whose religious identity and cultural rights are embodied in a feeling of happy, harmonious and authentic. At first, he even possible to fully live in exile from the convent to condemn him paradigm superstitious and fearful of Creole society, and moreover, docility and ingenuity of his father shortly after

spent two black slaves recognized Santeria collars and spoke in Yoruba language. The girl replied, excited in the same language. (...)

regained his world instantly. Helped slaughter a goat that refused to die. He took his eyes and cut off the testicles, which were the parts she liked. Pellet played with adults in the kitchen and children's playground, and won them all. He sang in Yoruba, Congo and Mandingo (...). (90-91)

should be appreciated, therefore, that the fate Handmaid Mary is certainly confusing and tragic, but that their cultural identity is far from it. And with this statement I enter fully into the question that concerns me here: black identity and culture represented in the love and other demons. In the fictionalized society by García Márquez, ethnicity and culture in Africa have several roles. A cursory examination shows that blacks are the topic of slave role, ie the community of beings regarded as sub-human parent and denied that the official story. Are equally disturbing presence or even a threat to the creole elite, due to other rituals, other languages, other codes and also to radiate vitality weed, as suggested by the 'invasion' of slaves in the house of the Marquis as a weakening of surveillance. Note, however, that the slaves of the Marquis does not hurt at any time, so are called into question the motives of the fears of the aristocrat:

For the first time alone in the gloomy mansion of his ancestors, [the Marquis] could hardly sleep in the dark, fear of noble birth Creoles of being killed by their slaves during sleep. Awoke suddenly, without knowing whether the feverish eyes peered through the skylights were of this world or the other. (55)

's mistrust of the Marquis is echoed the suspicion that his daughter has on the false Marquise, who "[w] here was more focused on their business was in the neck the breath hissing snake lurking (...).' (63)

The 'black peril' in Love and Other Demons has two faces, as well as being a subhuman threat, blacks are sometimes a threat by her beauty superhuman, that is irresistible or even unbearable for Creoles, as is the case of the captive Abyssinian worth its weight in gold and extremely stunning the new viceroy. Equally disconcerting is the physique of Judas Iscariot, the freed slave chippendalianos with traces of Bernarda Cabrera has fallen in love and whose vices marked the death of man in fatal and ruin the alleged aristocrat.

In García Márquez's novel, blacks are not individuals, as indicated by the fact that they have no name. Highlight two exceptions: Judas Iscariot and Sunday of Advent, the black maid was the only person capable of governing the house of the Marquis. It is difficult to explain the unusual position of these two characters are two black 'infiltrators' from the creole world, though in very different ways because if Judas Iscariot is, as its name implies, a traitor to their culture of origin that has been corrupted by the vices of the dominant society (greed, materialism, narcissism) 3, the old maid Marquis brings the best of both worlds: Advent
(...)
Dominga was the link between those two worlds. (...) It had become Catholic without renouncing their faith Yoruba, and practiced both at once, without rhyme or reason. His soul was at peace healthy, he said, because what I was missing in the other. It was also the only human being who had the authority to mediate between the marquis and his wife, and they both pleased. (18-19)

It is, therefore, that persons other than the father of a superhuman beauty, the black race is able to assume a hybrid identity harmoniously. If we pause in the anonymous mass of black people in the house of the Marquis in the convent of Santa Clara and the slave quarter, we see the same contrast between blacks and Creoles. No missing disconcerting practices (think of the circumcision performed by Mary Servant Sunday of Advent, certain sexual practices and some sacrificial rites and healing), but what dominates in the black world is garciamarquiano vitality, community spirit and harmony. Like for instance the following quotations, which need no comment:

Shortly afterwards spent two black slaves recognized Santeria collars and spoke [to Servant Mary] in the Yoruba language. The girl replied, excited in the same language. Since nobody knew what was there, the slaves taken to the tumultuous kitchen, where she was greeted with joy by the easement. (90)

[Servant Mary] lived with all the powers of free love in the barracks of the slaves. (174)

The slave quarter at the edge of the marsh, trembled for their misery. (...) However, the neighborhood was more cheerful, bright colors and radiant voice, and more at dusk, when they took the chairs to enjoy the cool in the middle of the street. (183) Waterfront

sick world, outdated, rigid, perverted and confused the natives, the black world is revealed as a young, vital, healthy, natural, sensual, authentic. With this representation, the author opposes the dehumanization of blacks perpetrated by the creole paradigm to celebrate, says Michael Palencia-Roth, 'the mode of being of a culture that until now has been almost invisible in his work and, with few exceptions, has not featured in the canons of literary history in Colombia: the African. " (Palencia-Roth 1997: 111) It should be noted however, that the representation of Afro-Colombians as a primitive ethnic group, healthy, natural and innocent also confirms certain topics of Western ideology or, more specifically, romantic paradigm. To this is added to the verb 'hold' is not, in my view, the most appropriate taking into account that, unlike the Creoles, blacks just have a voice in Love and Other Demons, whose discourse is dominated by a narrator who sympathize with them but not live with them. If the novel 'celebrates' culture is the culture of European origin, for that is hated by the author out of his fiction. Appreciate, for example, the development of the two characters who with his vast erudition, refined culture, critical and profound desire to represent the incipient skepticism Caribbean version of the paradigm of the Enlightenment: Abrenuncio de Sa Pereira Cao and Delaura Cayetano. Remember also that the catalysts that enable Contact Servant Mary with her father and Cayetano Delaura European cultural phenomena, 'the golden oldies' (69) sung and played by the Marquis in the Italian theorbo and the poetry of Garcilaso de la Vega. While it is true, as Arnold M. Penuel, in Love and Other Demons 'enslaving the dogmas and practices of the Church Are Placed in juxtaposition with the Liberating forces of Renaissance humanism, enlightenment rationalism and freethinking, and the eclectic religion and culture of African slaves' (Penuel 1997: 46 ), so is that the religious and cultural practices of African origin are far less developed and explored than those of European origin.

In summary, I believe pertinent to reconsider the claims of Michael Palencia-Roth, Margaret M. Valenzuela Fajardo Diogenes Olsen and African culture that takes "such a central position and explícita'4 in Love and Other Demons. Rather than celebrate, express and deepen the black culture, García Márquez's narrator refers to it and watches. From an outside perspective, idealized and, in turn, marginalizes blacks, revealing itself as a racist utopian watching 'to Western eyes. " In essence, then, the Colombian Nobel narrative strategy not unlike that of Mario Vargas Llosa, for they are the different ideologies and ideological purposes of the two authors. Saul Zarate and Mary are two characters Servant conquered by marginalized ethnic groups and cultures, and also two victims of a narrative usurpation them located in the periphery of history and history.





Notes [1] García Márquez 1994: 15. Of Love and Other Demons, 5 th edition (Buenos Aires: Editorial Sudamericana). All quotations from the novel refer to this edition.

[2] Remember the impossible love - without going any further - Cayetano Delaura and Servant Mary, united only in sleep.

[3] It seems significant that the narrator never uses the term 'black' to describe or refer or allude Judas Iscariot.

[4] Olsen, Margaret M., 2002: 1067. See also Valenzuela Fajardo, Diogenes, 1997: 120, which states that the novel paints us a 'fresh from the presence of Africa in the Colombian culture. "




Works Cited
Valenzuela Fajardo, Diogenes, 1997. 'The African World Of Love and Other Demons by Gabriel García Márquez', Black America, 14: 101-124.

García Márquez, Gabriel, 1974. The Colonel no one writes (Barcelona: Plaza y Janes). ___

1983. 'The Solitude of Latin America', Casa de las Americas, 137 (March-April 1983). ___

1984. One Hundred Years of Solitude, ed. Jacques Joset (Madrid: Cátedra). ___

1991. Journalistic work Vol 1. Texts coast, collection and introduction of Jacques Gilard (Madrid: Mondadori). ___

1994. Of Love and Other Demons, 5 th edition (Buenos Aires: Editorial Sudamericana). ___

1999. 'What are the priorities of mankind for the coming decades? ", In For free. Journalistic work 4. 1974-1995 (Barcelona: Mondadori). ___

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Hutcheon, Linda, 1988. A Poetics of Postmodernism. History, theory, fiction (New York / London: Routledge).

O'Bryan-Knight, Jean, 1995. The Story of the Storyteller: Aunt Julia and the Scriptwriter, Mayta History, and The Storyteller by Mario Vargas Llosa (Amsterdam / Atlanta: Rodopi).

Olsen, Margaret M., 2002. 'The pathology of Africana in the love and other demons of García Márquez', Revista Iberoamericana, LXVIII, 201 (October-December 2002).

Palencia-Roth, Michael, 1997. 'Love and Other Demons: tragedy inquisitorial African beatification', in Notes on Colombian literature, comp. Carmenza Kline (Bogotá: Ceiba Publishers).

Penuel, Arnold M., 1997. 'Symbolism and the Clash of Cultural Traditions in Colonial English America in García Márquez's Of Love and Other Demons', Hispania, 80 (March 1997).

Steenmeijer, Maarten, 1998. 'Phantom pain of Gabriel García Márquez', in Proceedings of the XII Congress of the International Association of Hispanics. Birmingham 1995. Volume VII Hispanic Studies II, ed. Patricia Odber of Baubet (Birmingham: Department of English Studies, University of Birmingham), 281-286.

Vargas Llosa, Mario, 1987. The Storyteller (Barcelona: Seix Barral). ___

1990. 'Birth Peru's' Against All Odds (III) (Barcelona: Seix Barral). ___

1991. A Writer's Reality (Syracuse: Syracuse University Press).


Maarten Steenmeijer
© 2002
speculum. Journal of literary studies. Universidad Complutense de Madrid

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