Wednesday, April 10, 2019

Love in Time of Cholera Essay Example for Free

spang in Time of Cholera EssayTime of CholeraLove, as Mickey and Sylvia, in their 1956 hit single, prompt us, love is strange. As we grow older it gets stranger, until at just about point mortality has come intimately within the frame of our attention, and there we atomic number 18, suddenly caught between terminal dates fleck still talking a game of eternity. Its ab tabu then that we may begin to regard love songs, romance novels, soap operas and any(prenominal) live teen-age pronouncework forcets at all on the subject of love with an increasingly impatient, not to mention intolerant, ear. At the alike(p) time, where would any of us be with discover(a) all that romantic infrastructure, without, in fact, just that degree of adolescent, premortal intrust? Pretty far out on intents limb, at least. Suppose, then, it were possible, not alone to swear love forever, notwithstanding actually to pass done on it to live a long, full and authentic life ground on such a vo w, to put ones alloted s pack of precious time where ones heart is? This is the extraordinary expound of Gabriel Garcia Marquezs new novelLove in the Time of Cholera,one on which he delivers, and triumphantly.In the postromantic fall back of the 70s and 80s, with everybody now so wised up and redden growing paranoid about love, once the magical patois of a generation, it is a validity step for any writer to decide to work in loves vernacular, to take it, with all its folly, imprecision and lapses in taste, at all seriously that is, as well outlay those higher(prenominal) forms of play that we value in fiction. For Garcia Marquez the step may also be revolutionary. I think that a novel about love is as valid as any other, he once remarked in a conversation with his friend, the journalist Plinio Apuleyo Mendoza (published as El Olor de la Guayaba, 1982). In reality the duty of a writer the revolutionary duty, if you like is that of writing well. And oh boy does he write we ll. He writes with impassioned control, out of a maniacal serenity the Garcimarquesian join we have come to recognize from the other fiction has matured, tack together and developed new resources, been brought to a level where it keister at once be classical and familiar, nacreous and pure, able to praise and curse, laugh and cry, fabulate and ing and when called upon, take off and soar, as in this description of a turn-of-the-century pilot tripFrom the sky they could see, just as God saw them, the ruins of the very old and heroic metropolis of Cartagena de Indias, the most lovely in the world, abandoned by its inhabitants because of the sieges of the English and the atrocities of the buc foundationeers. They saw the walls, still intact, the brambles in the streets, the fortifications devoured by heartsease, the marble palaces and the golden altars and the viceroys rotting with plague inside their armor. They flew everywhere the lake dwellings of the Trojas in Cataca, painted in harum-scarum colors, with pens holding iguanas raised for forage and balsam apples and crepe myrtle hanging in the lacustrian gardens. Excited by everyones shouting, hundreds of natural children plunged into the water, jumping out of windows, jumping from the roofs of the houses and from the canoes that they handled with astonishing skill, and diving like shad to recover the bundles of clothing, the bottles of cough syrup, the beneficent food that the beautiful lady with the feathered hat threw to them from the basket of the balloon. This novel is also revolutionary in daring to suggest that vows of love made under a presumption of immortality youthful idiocy, to some may steady so be honored, much later in life when we ought to know better, in the face of the undeniable. This is, effectively, to assert the resurrection of the body, directly as throughout history an unavoidably revolutionary idea.Through the ever-subversive medium of fiction, Garcia Marquez shows us how i t could all likely come about, even wild hope for somebody out here, outside a book, even as inevitably beaten at, bought and resold as we all mustiness have become if only through historic period of simple residence in the injuring and corruptive world. Heres what happens. The story takes place between about 1880 and 1930, in a Caribbean seaport city, unnamed notwithstanding said to be a composite of Cartagena and Barranquilla as well, perhaps, as cities of the olfactory perception less officially mapped.Three major characters form a triangle whose hypotenuse is Florentino Ariza, a poet dedicated to love both carnal and transcendent, though his secular fate is with the River Company of the Caribbean and its small fleet of paddle-wheel steamboats. As a young apprentice telegrapher he meets and falls forever in love with Fermina Daza, a beautiful adolescent with . . . almondsshaped eyes, who walks with a natural haughtiness . . . her does gait making her seem immune to gravit y. Though they trade hardly a hundred joints face to face, they carry on a passionate and unfathomable aff logical argument entirely by way of letters and telegrams, even subsequently the girls father has sound out and taken her away on an extended journey of forgetting. But when she returns, Fermina rejects the lovesick young man after all, and eventually meets and marries instead Dr. Juvenal Urbino who, like the hero of a I9th-century novel, is well born, a sharp dresser, somewhat stuck on himself exactly a terrific catch nonetheless. For Florentino, loves creature, this is an agonizing setback, though nothing mordant.Having sworn to love Fermina Daza forever, he settles in to wait for as long as he has to until shes free again. This turns out to be 51 years, 9 months and 4 days later, when suddenly, absurdly, on a Pentecost Sunday around 1930, Dr. Juvenal Urbino dies, chasing a parrot upon mango tree. After the funeral, when everyone else has left, Florentino steps forward with his hat over his heart Fermina, he declares, I have waited for this hazard for more than half a century, to repeat to you once again my vow of eternal fidelity and immortal love. Shocked and furious, Fermina orders him out of the house. And dont show your face again for the years of life that are left to you . . . I hope there are very few of them. The hearts eternal vow has run up against the worlds finite terms. The confrontation occurs near the end of the offset printing chapter, which recounts Dr. Urbinos last day on earth and Ferminas first night as a widow. We then flash back 50 years, into the time of ragea. The middle chapters follow the lives of the three characters through the years of the Urbinos marriage and Florentino Arizas rise at the River Company, as one century ticks over into the next.The last chapter takes up again where the first left off, with Florentine now, in the face of what many men would consider major rejection, resolutely setting about cour ting Fermina Daza all over again, doing what he must to win her love. In their city, throughout a turbulent half-century, death has proliferated everywhere, both as el colera, the fatal disease that sweeps through in terrible intermittent epidemics, and as la colera, defined as choler or anger, which taken to its extreme becomes warfare.Victims of one, in this book, are more than once mistaken for victims of the other. War, always the same war, is presented here not as the continuation by other means of any politics that can possibly matter, but as a negative force, a plague, whose only meaning is death on a massive scale. Against this dark ground, lives, so precarious, are often more and less conscious projects of resistance, even of sworn opposition, to death. Dr. Urbino, like his father before him, becomes a leader in the battle against the cholera, promoting public health measures obsessively, heroically.Fermina, more conventionally but with as much courage, soldiers on in her chosen role of wife, stimulate and household manager, maintaining a safe perimeter for her family. Florentino embraces Eros, deaths well-known long-time enemy, setting off on a locomote of seductions that eventually add up to 622 long term liaisons, apart from . . . countless fleeting adventures, while maintaining, mothproof to time, his deeper fidelity, his unquenchable hope for a life with Fermina.At the end he can tell her truthfully though she doesnt believe it for a minute that he has remained a virgin for her. So far as this is Florentinos story, in a way his Bildungsroman, we find ourselves, as he earns the suspension of our disbelief, cheering him on, wishing for the victory of this stubborn warrior against age and death, and in the name of love. But like the best fictional characters, he insists on his autonomy, refusing to be anything less ambiguous than human.We must take him as he is, pursuing his tomcat want out among the streets and lovers refuges of this city w ith which he lives on terms of such easy intimacy, carrying with him a potential for disasters from which he remains safe, immunized by a comical but dangerous indifference to consequences that often borders on criminal neglect. The widow Nazaret, one of many widows he is fated to make happy, seduces him during a nightlong fountain from the cannons of an attacking army outside the city. Ausencia Santanders exquisitely furnished home is burgled of every movable item while she and Florentino are frolicking in bed.A girl he picks up at Carnival time turns out to be a homicidal machete-wielding escapee from the local asylum. Olimpia Zuletas husband murders her when he sees a vulgar endearment Florentino has been thoughtless enough to write on her body in red paint. His lovers amorality causes not only individual misfortune but ecological destruction as well as he learns by the end of the book, his River Companys insatiable relish for firewood to fuel its steamers has wiped out the gr eat forests that once bordered the Magdalena river system, leaving a wasteland where nothing can ive. With his mind clouded by his passion for Fermina Daza he never took the trouble to think about it, and by the time he realized the truth, there was nothing anyone could do except bring in a new river. In fact, dumb luck has as much to do with getting Florentino through as the intensity or purity of his dream. The authors great affection for this character does not entirely overcome a sly concurrent subversion of the ethic of machismo, of which Garcia Marquez is not especially fond, having described it elsewhere exactly as usurpation of the rights of others.Indeed, as weve come to expect from his fiction, its the women in this story who are stronger, more attuned to reality. When Florentino goes crazy with live, develop symptoms like those of cholera, it is his mother Transito Ariza, who pulls him out of it. His innumerable lecheries are rewarded not so much for any handed-down m asculine selling points as for his obvious and aching need to be loved. Women go for it. He is awkward and sad, Fermina Dazas cousin Hildebranda tells her, but he is all love. And Garcia Marquez, straight-faced teller of tall tales, is his biographer.At the age of 19, as he has reported, the young writer underwent a literary epiphany on reading the famous opening lines of KafkasMetamorphosis,in which a man wakes to find himself transformed into a giant insect. Gosh, exclaimed Garcia Marquez, using in Spanish a word in English we may not, thats just the way my grandmother used to talk And that, he adds is when novels began to provoke him. Much of what come sic in his work to be called magical realism was, as he tells it, simply the presence of that grandmotherly voice.Nevertheless, in this novel we have come a meaningful distance from Macondo, the magical village inOne Hundred Years of Solitudewhere folks routinely sail through the air and the dead remain in everyday conversation with the living we have descended, perhaps in some way down the same river, all the way downstream, into war and pestilence and urban confusions to the edge of a Caribbean haunted less by individual dead than by a history which has brought so appallingly many down, without ever having sopoken, or having spoken gone unheard, or having been heard, left unrecorded.As revolutionary as writing well is the duty to redeem these silences, a duty Garcia Marquez has here fulfilled with honor and compassion. It would be presumptuous to speak of paltry beyondOne Hundred Years of Solitudebut clearly Garcia Marquez has moved somewhere else, not least into deeper awareness of the ways in which, as Florentino comes to learn, nobody teaches life anything. There are still delightful and stunning moments contrary to fact, still told with the same unblinking gratify presences at the foot of the bed, an anonymously delivered doll with a curse on it, the sinister parrot, almost a minor character, wh ose pursuit ends with the death of Dr. Juvenal Urbino.But the predominant claim on the authors attention and energies comes from what is not so contrary to fact, a human consensus about reality in which love and the possibility of loves extinction are the indispensable driving forces, and varieties of magic have become, if not quite peripheral, then at least more thoughtfully deployed in the service of an expanded vision, matured, darker than before but no less clement.It could be argued that this is the only honest way to write about love, that without the darkness and the finitude there might be romance, erotica, well-disposed comedy, soap opera all genres, by the way, that are well represented in this novel but not the Big L. What that seems to require, along with a certain vantage point, a certain level of understanding, is an authors great power to control his own love for his characters, to withhold from the reader the full extent of his caring, in other spoken communicat ion not to lapse into drivel.In translatingLove in the Time of Cholera,Edith Grossman has been attentive to this element of discipline, among many nuances of the authors voice to which she is sensitively, imaginatively attuned. My Spanish isnt perfect, but I can tell that she catches admirably and without apparent labor the lilt and translucency of his writing, its slang and its classicism, the lyrical stretches and those end-of-sentence zingers he likes to hit us with.It is a faithful and beautiful beak of work. There comes a moment, early in his career at the River Company of the Caribbean when Florentino Ariza, unable to write even a simple commercial letter without some kind of romantic poetry creeping in, is discussing the job with his uncle Leo XII, who owns the company. Its no use, the young man protests Love is the only thing that interests me. The trouble, his uncle replies, is that without river navigation, there is no love. For Florentino, this happens to be literall y true the shape of his life is defined by two momentous river voyages, half a century apart. On the first he made his decision to return and live forever in the city of Fermina Daza, to persevere in his love for as long as it might take. On the second, through a desolate landscape, he journeys into love and against time, with Fermina, at last by his side.There is nothing I have read quite like this astonishing final chapter, symphonic, sure in its dynamics and tempo, moving like a riverboat too, its author and pilot, with a lifetimes experience steering us unerringly among hazards of skepticism and mercy, on this river we all know, without whose navigation there is no love and against whose flow the effort to return is never worth a less honorable name than remembrance at the very best it results in working that can even return our worn souls to us, among which most certainly belongsLove in the Time of Cholera,this glare and heartbreaking novel.

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