From the Nobel Prize-winning author of One Hundred Years of Solitude and Love in the Time of Cholera comes an extraordinary reading experience, the story of a doomed love affair between a twelve-year-old girl and a bookish priest, three times her age, who's been sent to oversee her exorcism.
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The oldest of twelve children, Gabriel García Márquez was born on March 6, 1928, in the small, banana-growing town of Aracataca, Colombia. Like Fermina and Florentino, the protagonists of his novel Love in the Time of Cholera, his mother went to high school and studied piano, and his father, too poor to complete his medical studies, became a telegrapher. He grew up in the great, gloomy house of his maternal grandparents, raised on his grandmother's tales of spirits and dead ancestors, and the civil war stories of his grandfather, a retired colonel.
With a new baby born every year, there was no money for school tuition, and at thirteen García Márquez applied for and received a scholarship to a boarding school outside Bogotá. His teachers recognized a natural storyteller, a gift García Márquez believes some people are born with. "Some people have a sense of timing, of organization of facts," he told the Los Angeles Times Magazine in 1990. "After that, it is a long way to becoming a writer. You have to learn to write well. It is a technical process, a process of elaboration and a capacity to elaborate experiences." Though he would have preferred to study philosophy and letters, García Márquez studied law at the National University in Bogotá, because the degree was more practical and the schedule permitted him an afternoon job. He nonetheless made his way through the great works of literature. Influenced by Marxist professors and the desperate economic straits of many Latin Americans, García Márquez became a radical socialist.
By the time the university closed down in 1948 because of political unrest, García Márquez had sold several stories to the local newspaper, El Espectador. He left for Cartagena on the Caribbean coast, where he knew he could find work on a newspaper. In 1954 he returned to Bogotá to work again for El Espectador, establishing himself as a well-known journalist. The next year García Márquez's first book, Leaf Storm, was published after a seven-year search for a publisher. When his account of the true story behind the shipwreck of a Colombian naval destroyer displeased Rojas Pinilla, the Colombian dictator, the newspaper prudently sent him abroad. Writing short stories all the while, García Márquez worked as a freelance journalist in Paris, London, and Caracas, and in 1959 opened the Bogotá office of the Prensa Latina, the newly-created official press agency of Castro's Cuba. In 1958 he married his childhood sweetheart, Mercedes Barcha. His first child, Rodrigo, was born in 1959 and his second, Gonsalvo, in 1962.
Q>A move to Mexico City was followed by four years in which García Márquez wrote no fiction at all. Then, one day in January 1965, as he was driving to Acapulco, the complete first chapter of One Hundred Years of Solitude suddenly came to him. He devoted eight to ten hours a day for eighteen months to his writing, emerging with a family saga that mirrors the history of Colombia. Published in 1967, One Hundred Years of Solitude became an international bestseller and is considered by many to be his masterpiece.
In 1982 García Márquez won the Nobel Prize for literature. His other works include four collections of short stories (No One Writes to the Colonel, Leaf Storm, Innocent Eréndira, and Strange Pilgrims), the novella Chronicle of a Death Foretold, and the novels The Autumn of the Patriarch, In Evil Hour, Love in the Time of Cholera, and The General in His Labyrinth.
García Márquez lives on the southern edge of Mexico City, and spends time in Bogotá, Cartagena, Barcelona, Cuernavaca, and Paris. He tries to write a page a day, declaring it "terribly hard work, more so all the time. Every letter I write weighs me down, you can't imagine how much" (Seven Voices). García Márquez credits the computer for rescuing him from his perfectionist tendencies; he once went through an entire ream of paper typing the final, letter-perfect manuscript of a fifteen-page short story.
His leftist beliefs and close friendship with Fidel Castro have not endeared García Márquez to the U.S. State Department, which allows him to visit the United States only by special dispensation. He remains a devoted advocate of human freedom and is insistent that Europe and the United States should allow Latin America to develop its own identity - and make its own mistakes - at its own pace and without intervention. "Why is the originality so readily granted us in literature so mistrustfully denied us in our difficult attempts at social change?" he demands.
Q>Always looking for the story, García Márquez still writes occasional pieces of nonfiction. "When I write journalism, some people think I am writing literature. And I am very rigorous when I write journalism, very careful of reality," he told the Los Angeles Times Magazine. "But I have a way of selecting and seeing reality that is very literary.... I see things others don't." His interest lies in describing and storytelling rather than in making moral judgments or grand statements. "The writer is not here to make declarations," he once told his friend Mario Vargas Llosa, "but to tell about things."
AN ASH-GRAY DOG with a white blaze on its forehead burst onto the rough terrain of the market on the first Sunday in December, knocked down tables of fried food, overturned Indians' stalls and lottery kiosks, and bit four people who happened to cross its path. Three of them were black slaves. The fourth, Sierva Maria de Todos los Angeles, the only child of the Marquis de Casalduero, had come there with a mulatta servant to buy a string of bells for the celebration of her twelfth birthday.
They had been instructed not to go beyond the Arcade of the Merchants, but the maid ventured as far as the drawbridge in the slum of Getsemani, attracted by the crowd at the slavers' port where a shipment of blacks from Guinea was being sold at a discount. For the past week a ship belonging to the Compania Gaditana de Negros had been awaited with dismay because of an unexplainable series of deaths on board. In an attempt at concealment, the unweighted corpses were thrown into the water. The tide brought them to the surface and washed the bodies, disfigured by swelling and a strange magenta coloring, up on the beach. The vessel lay anchored outside the bay, for everyone feared an outbreak of some African plague, until it was verified that the cause of death was food poisoning.
At the time the dog ran through the market, the surviving cargo had already been sold at reduced prices on account of poor health, and the owners were attempting to compensate for the loss with a single article worth all the rest: an Abyssinian female almost two meters tall, who was smeared with cane molasses instead of the usual commercial oil, and whose beauty was so unsettling it seemed untrue. She had a slender nose, a rounded skull, slanted eyes, all her teeth, and the equivocal bearing of a Roman gladiator. She had not been branded in the slave pen, and they did not call out her age and the state of her health. Instead, she was put on sale for the simple fact of her beauty. The price the Governor paid, without bargaining and in cash, was her weight in gold.
It was a common occurrence for a stray dog to bite people as it chased after cats or fought turkey buzzards for the carrion in the streets, and it was even more common during the times of prosperity and crowds when the Galleon Fleet stopped on its way to the Portobelo Fair. No one lost sleep over four or five dog bites in a single day, least of all over an almost invisible wound like the one on Sierva Maria's left ankle. And therefore the maid was not alarmed. She treated the bite herself with lemon and sulfur, and washed the bloodstain from the girl's petticoats, and no one gave a thought to anything but the festivities for her twelfth birthday.
Earlier that morning, Bernarda Cabrera, the girl's mother and the untitled spouse of the Marquis de Casalduero, had taken a dramatic purge: seven grains of antimony in a glass of sugared rosewater. She had been an untamed mestiza of the so-called shopkeeper aristocracy: seductive, rapacious, brazen, with a hunger in her womb that could have satisfied an entire barracks. In a few short years, however, she had been erased from the world by her abuse of fermented honey and cacao tablets. Her Gypsy eyes were extinguished and her wits dulled, she shat blood and vomited bile, her siren's body became as bloated and coppery as a three-day-old corpse, and she broke wind in pestilential explosions that startled the mastiffs. She almost never left her bedroom, and when she did she was nude or wearing a silk tunic with nothing underneath, which made her seem more naked than if she wore nothing at all.
She had already moved her bowels seven times when the maid who had accompanied Sierva Maria returned but told her nothing about the dog bite. She did, however, comment on the scandal at the port caused by the sale of the slave woman. "If she's as beautiful as you claim, she might be Abyssinian," said Bernarda. But even if she were the Queen of Sheba, it did not seem possible that anyone would pay her weight in gold.
"They must have meant in weighed gold pesos," she said.
"No, as much gold as the black woman weighs," the maid explained.
"A slave two meters tall weighs at least one hundred twenty pounds," said Bernarda. "And no woman, white or black, is worth one hundred twenty pounds of gold, unless she shits diamonds."
No one had been more astute than Bernarda in the slave trade, and she knew that if the Governor had bought the Abyssinian it could not be for something as sublime as serving in his kitchen. Just then she heard the first hornpipes and firecrackers of a fiesta, followed by the furious barking of the mastiffs in their cages. She went out to the orange grove to see what it could be.
Don Ygnacio de Alfaro y Duenas, the second Marquis de Casalduero and Lord of Darien, had also heard the music from his siesta hammock hanging between two orange trees in the grove. He was a funereal, effeminate man, as pale as a lily because the bats drained his blood while he slept. He wore a Bedouin djellaba in the house, and a Toledan biretta that increased his forlorn appearance. When he saw his wife as naked as the day God brought her into the world, he anticipated her question and asked:
"What music is that?"
"I don't know," she said. "What's the date?"
The Marquis did not know. He really must have felt quite puzzled to ask his wife anything, and she must have felt complete relief from her bilious attack to reply with no sarcasm. He had sat up in the hammock, intrigued, when the firecrackers exploded again.
"Good Lord!" he exclaimed. "Can it be that date already?"
The house adjoined the Divina Pastora Asylum for Female Lunatics. Agitated by the music and fireworks, the patients had appeared on the terrace that overlooked the orange grove, and they celebrated each explosion with ovations. The Marquis called up to them, asking where the fiesta was, and they cleared away his doubts. It was December seventh, the Feast of Saint Ambrose the Bishop, and the music and fireworks thundering in the slaves' courtyard were in honor of Sierva Maria. The Marquis slapped his forehead.
"Of course," he said. "How old is she?"
"Twelve," replied Bernarda.
"Only twelve?" he said, lying down again in the hammock. "How slow life is!"
The house had been the pride of the city until the beginning of the century. Now it was a melancholy ruin, and the large empty spaces and the many objects out of place made it seem as if the occupants were in the process of moving. The drawing rooms had kept their checkerboard marble floors and teardrop chandeliers draped in cobwebs. The rooms still in use were cool in any weather because of their thick masonry walls and many years of enclosure, and even more because of the December breezes that came whistling through the cracks. Everything was saturated with the oppressive damp of neglect and gloom. All that remained of the seignorial dignities of the first Marquis were the five hunting mastiffs that guarded the nights.
The resounding courtyard of the slaves, where Sierva Maria's birthday was being celebrated, had been another city within the city in the time of the first Marquis. This continued under his heir for as long as the illicit traffic in slaves and flour, directed in secret by Bernarda from the Mahates sugar plantation, had lasted. Now all that splendor was a thing of the past. Bernarda had been extinguished by her insatiable vices, and the slave yard reduced to two wooden shacks with roofs of bitter palm, where the last scraps of greatness had already been consumed.
Dominga de Adviento, a formidable black woman who ruled the house with an iron fist until the night before her death, was the link between these two worlds. Tall and bony, and possessed of an almost clairvoyant intelligence, it was she who had reared Sierva Maria. Dominga de Adviento became a Catholic without renouncing her Yoruban beliefs, and she practiced both religions at the same time, and at random. Her soul was healthy and at peace, she said, because what she did not find in one faith was there in the other. She was also the only human being with the authority to mediate between the Marquis and his wife, and they both accommodated her. Only she could drive the slaves out with a broom when she discovered them in the vacant rooms committing calamitous acts of sodomy or fornicating with bartered women. But after she died they would flee the shacks to escape the midday heat and stretch out on the floor in every corner, or scrape the crust out of the rice pots and eat it, or play with the macuco and the tarabilla in the cool corridors. In that oppressive world where no one was free, Sierva Maria was: she alone, and there alone. And so that was where her birthday was celebrated, in her true home and with her true family.
In the midst of so much music it was difficult to imagine dancing more silent than that of the Marquis's slaves and a few blacks from other distinguished households, who brought whatever they could. The girl displayed just who she was. She could dance with more grace and fire than the Africans, sing in voices different from her own in the various languages of Africa, agitate the birds and animals when she imitated their voices. By order of Dominga de Adviento, the younger slave girls would blacken her face with soot. They hung Santeria necklaces over her baptism scapular and looked after her hair, which had never been cut and would have interfered with her walking if they had not braided it into loops every day.
She had begun to blossom under a combination of contradictory influences. She inherited very little from her mother. She had her father's thin body, however, and his irremediable shyness, pale skin, eyes of taciturn blue, and the pure copper of her radiant hair. Her movements were so stealthy that she seemed an invisible creature. Frightened by her strange nature, her mother had hu...
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