“Not this one,” he told her. “I don’t want to know what it says.”
Just as he had sensed, the wise Catalonian did not write again. The stranger’s letter, which no one read, was left to the mercy of the moths on the shelf where Fernanda had forgotten her wedding ring on occasion and there it remained, consuming itself in the inner fire of its bad news as the solitary lovers sailed against the tide of those days of the last stages, those impenitent and ill-fated times which were squandered on the useless effort of making them drift toward the desert of disenchantment and oblivion. Aware of that menace, Aureliano and Amaranta Úrsula spent the last months holding hands, ending with the love of loyalty for the child who had his beginning in the madness of fornication. At night, holding each other in bed, they were not frightened by the sublunary explosions of the ants or the noise of the moths or the constant and clean whistle of the growth of the weeds in the neighboring rooms. Many times they were awakened by the traffic of the dead. They could hear Úrsula fighting against the laws of creation to maintain the line, and José Arcadio Buendía searching for the mythical truth of the great inventions, and Fernanda praying, and Colonel Aureliano Buendía stupefying himself with the deception of war and the little gold fishes, and Aureliano Segundo dying of solitude in the turmoil of his debauches, and then they learned that dominant obsessions can prevail against death and they were happy again with the certainty that they would go on loving each other in their shape as apparitions long after other species of future animals would steal from the insects the paradise of misery that the insects were finally stealing from man.
One Sunday, at six in the afternoon, Amaranta Úrsula felt the pangs of childbirth. The smiling mistress of the little girls who went to bed because of hunger had her get onto the dining-room table, straddled her stomach, and mistreated her with wild gallops until her cries were drowned out by the bellows of a formidable male child. Through her tears Amaanta Úrsula could see that he was one of those great Buendías, strong and willful like the José Arcadios, with the open and clairvoyant eyes of the Aurelianos, and predisposed to begin the race again from the beginning and cleanse it of its pernicious vices and solitary calling, for he was the only one in a century who had been engendered with love.
“He’s a real cannibal,” she said. “We’ll name him Rodrigo.”
“No,” her husband countered. “We’ll name him Aureliano and he’ll win thirty-two wars.”
After cutting the umbilical cord, the midwife began to use a cloth to take off the blue grease that covered his body as Aureliano held up a lamp. Only when they turned him on his stomach did they see that he had something more than other men, and they leaned over to examine him. It was the tail of a pig.
They were not alarmed. Aureliano and Amaranta Úrsula were not aware of the family precedent, nor did they remember Úrsula’s frightening admonitions, and the midwife pacified them with the idea that the tail could be cut off when the child got his second teeth. Then they had no time to think about it again, because Amaranta Úrsula was bleeding in an uncontainable torrent. They tried to help her with applications of spiderwebs and balls of ash, but it was like trying to hold back a spring with one’s hands. During the first hours she tried to maintain her good humor. She took the frightened Aureliano by the hand and begged him not to worry, because people like her were not made to die against their will, and she exploded with laughter at the ferocious remedies of the midwife. But as Aureliano’s hope abandoned him, she was becoming less visible, as if the light on her were fading away, until she sank into drowsiness. At dawn on Monday they brought a woman who recited cauterizing prayers that were infallible for man and beast beside her bed, but Amaranta Úrsula’s passionate blood was insensible to any artifice that did not come from love. In the afternoon, after twenty-four hours of desperation, they knew that she was dead because the flow had stopped without remedies and her profile became sharp and the blotches on her face evaporated in a halo of alabaster and she smiled again.
Aureliano did not understand until then how much he loved his friends, how much he missed them, and how much he would have given to be with them at that moment. He put the child in the basket that his mother had prepared for him, covered the face of the corpse with a blanket, and wandered aimlessly through the town, searching for an entrance that went back to the past. He knocked at the door of the pharmacy, where he had not visited lately, and he found a carpenter shop. The old woman who opened the door with a lamp in her hand took pity on his delirium and insisted that, no, there had never been a pharmacy there, nor had she ever known a woman with a thin neck and sleepy eyes named Mercedes. He wept, leaning his brow against the door of the wise Catalonian’s former bookstore, conscious that he was paying with his tardy sobs for a death that he had refused to weep for on time so as not to break the spell of love. He smashed his fists against the cement wall of The Golden Child, calling for Pilar Ternera, indifferent to the luminous orange disks that were crossing the sky and that so many times on holiday nights he had contemplated with childish fascination from the courtyard of the curlews. In the last open salon of the tumbledown red-light district an accordion group was playing the songs of Rafael Escalona, the bishop’s nephew, heir to the secrets of Francisco the Man. The bartender, who had a withered and somewhat crumpled arm because he had raised it against his mother, invited Aureliano to have a bottle of cane liquor, and Aureliano then bought him one. The bartender spoke to him about the misfortune of his arm. Aureliano spoke to him about the misfortune of his heart, withered and somewhat crumpled for having been raised against his sister. They ended up weeping together and Aureliano felt for a moment that the pain was over. But when he was alone again in the last dawn of Macondo, he opened up his arms in the middle of the square, ready to wake up the whole world, and he shouted with all his might:
“Friends are a bunch of bastards!”
Nigromanta rescued him from a pool of vomit and tears. She took him to her room, cleaned him up, made him drink a cup of broth. Thinking that it would console him, she took a piece of charcoal and erased the innumerable loves that he still owed her for, and she voluntarily brought up her own most solitary sadnesses so as not to leave him alone in his weeping. When he awoke, after a dull and brief sleep, Aureliano recovered the awareness of his headache. He opened his eyes and remembered the child.
He could not find the basket. At first he felt an outburst of joy, thinking that Amaranta Úrsula had awakened from death to take care of the child. But her corpse was a pile of stones under the blanket. Aware that when he arrived he had found the door to the bedroom open, Aureliano went across the porch which was saturated with the morning sighs of oregano and looked into the dining room, where the remnants of the birth still lay: the large pot, the bloody sheets, the jars of ashes, and the twisted umbilical cord of the child on an opened diaper on the table next to the shears and the fishline. The idea that the midwife had returned for the child during the night gave him a pause of rest in which to think. He sank into the rocking chair, the same one in which Rebeca had sat during the early days of the house to give embroidery lessons, and in which Amaranta had played Chinese checkers with Colonel Gerineldo Márquez, and in which Amaranta Úrsula had sewn the tiny clothing for the child, and in that flash of lucidity he became aware that he was unable to bear in his soul the crushing weight of so much past. Wounded by the fatal lances of his own nostalgia and that of others, he admired the persistence of the spiderwebs on the dead rose bushes, the perseverance of the rye grass, the patience of the air in the radiant February dawn. And then he saw the child. It was a dry and bloated bag of skin that all the ants in the world were dragging toward their holes along the stone path in the garden. Aureliano could not move. Not because he was paralyzed by horror but because at that prodigious instant Melquíades’ final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of man’s time and space: The first of the line is tied to a tree and the last is being eaten by the ant
s.
Aureliano had never been more lucid in any act of his life as when he forgot about his dead ones and the pain of his dead ones and nailed up the doors and windows again with Fernanda’s crossed boards so as not to be disturbed by any temptations of the world, for he knew then that his fate was written in Melquíades’ parchments. He found them intact among the prehistoric plants and steaming puddles and luminous insects that had removed all trace of man’s passage on earth from the room, and he did not have the calmness to bring them out into the light, but right there, standing, without the slightest difficulty, as if they had been written in Spanish and were being read under the dazzling splendor of high noon, he began to decipher them aloud. It was the history of the family, written by Melquíades, down to the most trivial details, one hundred years ahead of time. He had written it in Sanskrit, which was his mother tongue, and he had encoded the even lines in the private cipher of the Emperor Augustus and the odd ones in a Lacedemonian military code. The final protection, which Aureliano had begun to glimpse when he let himself be confused by the love of Amaranta Úrsula, was based on the fact that Melquíades had not put events in the order of man’s conventional time, but had concentrated a century of daily episodes in such a way that they coexisted in one instant. Fascinated by the discovery, Aureliano read aloud without skipping the chanted encyclicals that Melquíades himself had made Arcadio listen to and that were in reality the prediction of his execution, and he found the announcement of the birth of the most beautiful woman in the world who was rising up to heaven in body and soul, and he found the origin of the posthumous twins who gave up deciphering the parchments, not simply through incapacity and lack of drive, but also because their attempts were premature. At that point, impatient to know his own origin, Aureliano skipped ahead. Then the wind began, warm, incipient, full of voices from the past, the murmurs of ancient geraniums, sighs of disenchantment that preceded the most tenacious nostalgia. He did not notice it because at that moment he was discovering the first indications of his own being in a lascivious grandfather who let himself be frivolously dragged along across a hallucinated plateau in search of a beautiful woman who would not make him happy. Aureliano recognized him, he pursued the hidden paths of his descent, and he found the instant of his own conception among the scorpions and the yellow butterflies in a sunset bathroom where a mechanic satisfied his lust on a woman who was giving herself out of rebellion. He was so absorbed that he did not feel the second surge of wind either as its cyclonic strength tore the doors and windows off their hinges, pulled off the roof of the east wing, and uprooted the foundations. Only then did he discover that Amaranta Úrsula was not his sister but his aunt, and that Sir Francis Drake had attacked Riohacha only so that they could seek each other through the most intricate labyrinths of blood until they would engender the mythological animal that was to bring the line to an end. Macondo was already a fearful whirlwind of dust and rubble being spun about by the wrath of the biblical hurricane when Aureliano skipped eleven pages so as not to lose time with facts he knew only too well, and he began to decipher the instant that he was living, deciphering it as he lived it, prophesying himself in the act of deciphering the last page of the parchments, as if he were looking into a speaking mirror. Then he skipped again to anticipate the predictions and ascertain the date and circumstances of his death. Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.
GABRIEL GARCÍA MÁRQUEZ
CHRONICLE OF A DEATH FORETOLD
COLLECTED STORIES
IN EVIL HOUR
INNOCENT ERENDIRA AND OTHER STORIES
LEAF STORM
LIVING TO TELL THE TALE
LOVE IN THE TIME OF CHOLERA
MEMORIES OF MY MELANCHOLY WHORES
NEWS OF A KIDNAPPING
NO ONE WRITES TO THE COLONEL
OF LOVE AND OTHER DEMONS
STRANGE PILGRIMS
THE AUTUMN OF THE PATRIARCH
THE GENERAL IN HIS LABYRINTH
THE STORY OF A SHIPWRECKED SAILOR
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GABRIEL GARCÍA MÁRQUEZ
CHRONICLE OF A DEATH FORETOLD
‘My favourite book by one of the world’s greatest authors. You’re in the hands of a master’ Mariella Frostrup
‘On the day they were going to kill him, Santiago Nasar got up at five-thirty in the morning to wait for the boat the bishop was coming on …’
When newly-wed Ángela Vicario and Bayardo San Román are left to their wedding night, Bayardo discovers that his new wife is no virgin. Disgusted, he returns Ángela to her family home that very night, where her humiliated mother beats her savagely and her two brothers demand to know her violator, whom she names as Santiago Nasar.
As he wakes to thoughts of the previous night’s revelry, Santiago is unaware of the slurs that have been cast against him. But with Ángela’s brothers set on avenging their family honour, soon the whole town knows who they plan to kill, where, when and why.
‘A masterpiece’ Evening Standard
‘A work of high explosiveness – the proper stuff of Nobel prizes. An exceptional novel’ The Times
‘Brilliant writer, brilliant book’ Guardian
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GABRIEL GARCÍA MÁRQUEZ
COLLECTED STORIES
‘The stories are rich and unsettling, confident and eloquent. They are magical’ John Updike
Sweeping through crumbling towns, travelling fairs and windswept ports, Gabriel García Márquez introduces a host of extraordinary characters and communities in his mesmerising tales of everyday life: smugglers, bagpipers, the President and Pope at the funeral of Macondo’s revered matriarch; a very old angel with enormous wings. Teeming with the magical oddities for which his novels are loved, Márquez’s stories are a delight.
‘These stories abound with love affairs, ruined beauty, and magical women. It is essence of Márquez’ Guardian
‘Of all the living authors known to me, only one is undoubtedly touched by genius: Gabriel García Márquez’ Sunday Telegraph
‘Márquez writes in this lyrical, magical language that no one else can do’ Salman Rushdie
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GABRIEL GARCÍA MÁRQUEZ
IN EVIL HOUR
‘A masterly book’ Guardian
‘César Montero was dreaming about elephants. He’d seen them at the movies on Sunday …’
Only moments later, César is led away by police as they clear the crowds away from the man he has just killed.
But César is not the only man to be riled by the rumours being spread in his Colombian hometown – under the cover of darkness, someone creeps through the streets sticking malicious posters to walls and doors. Each night the respectable townsfolk retire to their beds fearful that they will be the subject of the following morning’s lampoons.
As paranoia seeps through the town and the delicate veil of tranquility begins to slip, can the perpetrator be uncovered before accusation and violence leave the inhabitants’ sanity in tatters?
‘In Evil Hour was the book which was to inspire my own career as a novelist. I owe my writing voice to that one book!’ Jim Crace
‘Belongs to the very best of Márquez’s work … Should on no account be missed’ Financial Times
‘A splendid achievement’ The Times
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GABRIEL GARCÍA MÁRQUEZ
INNOCENT ERÉNDIRA AND OTHER STORIES
‘These stories abound with love affairs, ruined beauty, and magical women. It is the essence of Márquez’ Guardian
‘Eréndira was b
athing her grandmother when the wind of misfortune began to blow …’
Whilst her grotesque and demanding grandmother retires to bed, Eréndira still has floors to wash, sheets to iron, and a peacock to feed. The never-ending chores leave the young girl so exhausted that she collapses into bed with the candle still glowing on a nearby table – and is fast asleep when it topples over …
Eight hundred and seventy-two thousand, three hundred and fifteen pesos, her grandmother calculates, is the amount that Eréndira must repay her for the loss of the house. As she is dragged by her grandmother from town to town and hawked to soldiers, smugglers and traders, Eréndira feels herself dying. Can the love of a virgin save the young whore from her hell?
‘It becomes more and more fun to read. It shows what “fabulous” really means’ Time Out
‘Márquez writes in this lyrical, magical language that no-one else can do’ Salman Rushdie
One Hundred Years of Solitude Page 42
