All rights reserved. Termina en , cuando sale por primera vez de Colombia. Al llegar a la casa cural tocan a la puerta y casi ruegan para poder hablar con el padre, quien estaba acostado. Una vez levantado, este parece molesto con la presencia de las dos visitantes, y especialmente cuando llega a conocer sus identidades. Sobretodo, no vayas a llorar. De hecho, se ve bastante aburrido de tenerlas en su casa.

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Several have been judged the most perfect examples of the genre ever written in Latin America. He submitted one of the stories, "Tuesday Siesta" "La siesta del Martes" , to a short story context sponsored by the Caracas newspaper El Nacional, but it failed to receive even an honorable mention. Several years later his close friend Alvaro Mutis sent him a note from a Mexican prison where he was serving time, asking for something to read. It was inspired by the childhood memory of a woman and her daughter, both dressed in black with a black umbrella and a bouquet of flowers in their hands.

They were walking down a dusty street in his native Aracataca in the hot afternoon sun. The heart of the story is an interview between the mother and the village priest, who controls the keys to the cemetery. The central idea, the dignity and pride of a poor woman in the face of ecclesiastical authority, is evident in the sparse dialogue between the mother and the housekeeper: "I need the priest," she said. When the priest finally appears, he suggests that they wait until sundown. But the mother is firm and determined; the return train leaves at The mother, however, sees the matter differently; he had promised her that he would never steal anything that someone else might need to survive, and he had kept his word.

There is a clear delineation of the struggle between stealing in order to survive and dying of hunger. The conclusion is effectively stated in dramatic fashion. The priest and his sister, aware that groups of curious people have filled the streets, realize that the woman and her daughter will have to face a hostile crowd on their way to the cemetery. Sure of herself and of the propriety of her actions, the mother and her daughter boldly face the ominous challenge of a hot Tuesday afternoon in the streets of an unfriendly town.

Before becoming a thief he was a boxer who tried to eke out a living for his family despite frequent severe injuries; in the process all his teeth had to be extracted. As the story develops, it affirms the social and economic disparity between the mother and daughter and the priest and his sister. The heaviness of the oppressive afternoon heat stands in contrast to the inner courage the mother demonstrates in the face of both the church and the unfriendly town.

It is essentially these strong female characters who hold Macondo together until its ultimate destruction at the end of One Hundred Years of Solitude. It should be noted that this destruction occurs only after the death of the principal matriarchal characters in the novel.

The dauntless mother in "Tuesday Siesta" is a modern Antigone who fearlessly faces the hostility of all of Macondo in order to pay her respects to her late son. Antigone, Leafstorm, and "Tuesday Siesta" all end at the moment when the protagonists go out to confront a belligerent crowd.

Their valor conveys a feeling of quiet dignity and moral authority. This story outlines the theme of confrontation in a stagnant setting in which change occurs slowly, if at all. Its protracted tension makes it a classic example of the best in Latin American fiction.





Tuesday Siesta (La Siesta del Martes) by Gabriel García Márquez, 1962



Cuento breve recomendado: “La siesta del martes”, de Gabriel García Márquez




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