Tercera relectura en enero de 2024. Es extraño: Cada vez que leo esta novela, es como si la leyera por primera vez, porque encuentro detalles que pasé por alto con anterioridad. En esta ocasión, me ha deslumbrado la mansión del viudo de Xius, la cual Bayardo San Román compró con la ilusión de hacer feliz a Ángela Vicario y desde donde se veía el horizonte del Mar Caribe; así como la obsesión de Ángela por el hombre que fue su esposo por cuatro horas, y al que perdió por siempre. Y me conmovió la determinación de los gemelos Vicario de no cumplir su cometido y anunciarlo a todo el mundo, y que nadie les creyera y terminaran asesinando para lavar el honor de la hermana, ante una sociedad cerrada y obsesionada con un ideal de mujer.
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“Del otro lado se divisaban los sembrados de plátanos azules bajo la luna, las ciénagas tristes y la línea fosforescente del Caribe en el horizonte”.

En una entrevista, Gabo dijo que empezó esta novela con la muerte del protagonista, Santiago Nassar, porque él tenía la costumbre de leer el final de las novelas o cuentos y sabía que mucha gente era cómo él. Entonces, decidió abrir con la muerte del protagonista y con la maestría propia de un excelente escritor, a pesar que ya sabemos el final, es imposible dejar de leer.

A pesar que, como los personajes en esta novela, los lectores también sabemos que el asesinato de Santiago es inminente, nada podemos hacer, y simplemente, nos dejamos conducir por la narración para identificar a los asesinos, sus motivos, la mujer que desató todo. Sabemos que es imposible detener el asesinato de Santigo y aún así, vive algo de esperanza, deseamos entrar en el relato y detener a los hermanos Vicario. Pero su destino ya está sellado.

Y por eso, creo que este libro es magistral: aún y cuando el desenlace es conocido muy temprano, nunca se pierde el interés, la duda. Y es que quizá, lo que nos mantiene es algo que García Márquez no resuelve -¿quién fue el causante de la tragedia de Santiago, Angela Vicario y Bayardo San Román? ¿Importa? Quizá sí... pero saberlo, no cambiaría nada de la perfección de esta historia.

Kırmızı Pazartesi, işlenen bir cinayet üzerinden yapılan toplumsal bir eleştiri. Bir cinayetin öyküsü, evet, ama basit bir cinayetin öyküsü de değil.

Olaylar gerçekten yaşanmamış olsa, yahut yazar bize bunu söylemese, ben kitabı alegorik bir kitap olarak okurdum, hâlâ da öyle okuyabiliriz. Herkesin bildiği, ama kimsenin engellemediği bir cinayet nasıl işlenir? Herkesin onayıyla. Kitap boyunca bunu okuyoruz ve sorgulanmamış, önyargı halindeki ahlak kurallarının gücü karşısında eziliyoruz, şaşırıyoruz, rahatsız oluyoruz.

Kitapta katilin kim olduğu en baştan belli belki ama "esas" katil, klasik bir cinayet romanında olduğu gibi en son işaret ediliyor: "Kendi işlediği cinayetin dehşeti içinde çığlık çığlığa bağrışan halkın sesini de duymuyorlardı."

Halk, kendi ahlak kurallarıyla, kendi önyargılarıyla bir kişiyi ölü, iki kişiyi de katil yapıyor ve Márquez, Vicario kardeşlerin ruh halini, cinayet işlemekten kaçmak için her şeyi yapışlarını, cinayetten sonra çektikleri sıkıntıları muhteşem bir şekilde anlatıyor.

Bu kitaptaki hikâyelerin çok benzerini Türkiye'de de çok gördük. Madımak'ı örnek olarak görebiliriz.

Kırmızı Pazartesi bence bir Yaprak Fırtınası gücünde değil, Albaya Mektup Yok seviyesinde bir edebî değeri de yok, ama yine de önemli bir eser.

Not: Kitap tam 4 değil bu arada, 3,5'tan 4.

شكلي حبدأ أحبك يا ماركيز ولا ايه؟
الصراحة الرواية كانت مفاجأة غير متوقعة ..مفاجأة حلوة أكيد:)

تدور أحداث الرواية في كولومبيا و هي تروي قصة حقيقية عن إغتيال رجل اسمه سنتياغو نصار علي يد التوأمين فيكاريو بسبب جريمة شرف...
من أول سطر في الرواية و أنت تعلم إن سانتياغو نصار سيقتل وتعلم من سيقتله وكأن الكاتب بدأ الرواية من النهاية...
مش بس إنت كقارئ كنت تعلم إنه سيقتل ولكن القرية كلها كانت تعلم أيضاً ومع ذلك بعضهم لم يصدق و البعض الآخر حاول تحذيره ولكن بعد فوات الآوان...

علي الرغم إن عنصر التشويق تقريباً مش موجود في الرواية إلا إنك حتلاقي نفسك مش قادر تسيبها إلي أن تصل إلي مشهد النهاية اللي أقل ما يقال عنه إنه كان مكتوب بعبقرية..
مشهد مستحيل تقدر تنساه و من روعة الوصف فيه حتحس إنك شايفه قدامك ومش مجرد كلام مكتوب علي ورق!

تقييمي للرواية كان ٣ نجوم وذلك لوجود تفاصيل كتير في كل الرواية كان ممكن الإستغناء عنها ولكن مشهد النهاية بالنسبة لي و طريقة كتابة الرواية كلها يخليني أرفع التقييم من ٣ إلي ٤ ويخليني كمان أتعلم إن مهماً كانت ليا تجارب سيئة مع أي كاتب ممكن رواية واحدة تخليني أرجع أحبه وأحاول معاه مرة تانية:)

“There’s no way out of this,” he told him. “It’s as if it had already happened.”

How is it possible, in a small town where everybody knows your name , to threaten murder against one of your own neighbours and for nobody to do anything to stop the tragedy? Predestination, or a chain of many chance events that had made absurdity possible ?

The victim is one of the young men in town, Santiago Nasar, well liked and respected. The killers are also well known, twin brothers Pablo and Pedro Vicario, who work as butchers . The investigator / reporter who asks questions about the fateful events is also one of them – he remains unnamed, but he tells us he grew up with the victim and the killers.
It should have been a morning of celebration: the wedding of one of the town’s beauties, Angela Vicario, to a handsome newcomer from out of town, Bayardo San Roman. The whole town also went out in the morning to receive a blessing from a visiting bishop.
Everybody knows! Nobody does anything to stop it!

There wasn’t a single person, rich or poor, who hadn’t participated in some way in the wildest party the town had ever seen.

>>><<<>>><<<

For some reason, the small town setting with the close ties between families, coupled with the pervasive sense of dread at the announced major event, made me think of Shirley Jackson’s famous short story “The Lottery”.
Indeed, behind the friendly and party-loving community lies a darker truth, a toxic tradition. The investigator discovers many clues that the killers wanted to be stopped, but that they felt their honour demanded the deed: their sister had been dishonoured and they must wash their reputation clean in the blood of the alleged perpetrator.
But did he really do it? Or was his name just a chance slip of the tongue from the girl?
It doesn’t really matter, because this pleasant town is ruled by secret and deadly prejudices. Its laws are made exclusively by men, who call it ‘machismo’.

“That day,” she told me, “I realised just how alone we women are in the world.”

“They’re perfect,” she was frequently heard to say. “Any man will be happy with them because they’ve been raised to suffer.”

Being born a woman in a traditional Latin American small town often feels like a life sentence served at birth – the path through life predetermined and carved out of hard work, forced pregnancies, abuse, suffering. Angela Vicario, the girl who was returned to her parents on her wedding day, is for me such a victim of the system, and the narrator expands his investigation to the decades after that tragic morning, in an effort to find out why she did name the victim, and how has that morning affected her later in life.
Its a question the novella asks of all the other witnesses of the killing, and of us the readers. This is not a police procedural or investigative journalism, but existentialism triggered by the chaotic nature of life.

For years we couldn’t talk about anything else. Our daily conduct, dominated then by so many linear habits, had suddenly begun to spin around a single common anxiety. The cocks of dawn would catch us trying to give order to the chain of many chance events that had made absurdity possible, and it was obvious that we weren’t doing it from an urge to clear up mysteries but because none of us could go on living without an exact knowledge of the place and the mission assigned to us by fate.

>>><<<>>><<<

Marquez doesn’t get an automatic five stars for everything he wrote from me, but I am hard pressed to justify any perceived flaw in this masterful narration. I struggled a little, for the first five or ten pages, to let go of my immediate surroundings and of my routine daily tasks, but at some point something clicked and I was sucked completely into the atmosphere of the town, into Gabo’s elegant phrasing, and I couldn’t let it go until I flipped the last page.
I felt like I was in the hands of a street magician, twisting me around his little finger and leading me exactly where he wanted me to be: shaken out of complacency and forced to look at the world through the lens of his vision.
A more detached critic might say something about the tools of his trade, about imagery and situations that the author likes to return to from one story to another: the tightly knit community, the doomed love affair over decades of separation, the thirst for life, a tropical exuberance in storytelling.
I think I will retain from this story a vivid picture of getting lost in a tropical town where everybody is looking at me with wary eyes, uncertain if they should welcome me with a fiesta or chase me away with stones and mad dogs.

I will close with a quote that hopefully balances a little the earlier commentaries about the fate of women in a town ruled by ‘machismo’. Marquez, in another of his trademark moves, sings praises to the mother and lover icons of womanhood, usually to be found in the person of a prostitute. In this novella, Maria Alejandrina Cervantes, through whose arms so many young boys have become men.

She taught us much more than we should have learned, but she taught us above all that there’s no place in life sadder than an empty bed.

Offered a choice between murder and love, I know which way I will be headed.

Bir kasaba bir katil bir ceset ve binlerce seyirci. Marquez, Latin Amerika'nın küçük bir kasabasında geçen bu hikayeyi yazarken ne Pelitli'yi ne Hrant'ı tanıyordu. Ama biz biliyoruz gerçekleşeceğini tüm ülkenin bildiği bu cinayeti ve hepimiz seyirciydik. Büyük anlatılar böyledir, hayat onları sürekli doğrulamaya devam eder. Okumadıysanız mutlaka okuyun, okuduysanız bir de Hrant'ı düşünerek okuyun, gerçek her zaman büyülü olmayabiliyor.

يمكن للحياة أن تنتهي إلى أن تكون مشابهة جداً للأدب الرديء ...

ما أن يتهيأ القدر ليقول كلمته حتى تتكاتف جميع المصادفات و المواقف العبثية و الأسباب المعقولة و غير المعقولة لتُحيك معاً حدثاً استثنائياً قادراً على بعثرة وتبديد مصائر الكثيرين .

قصة موت معلن تروي واقعة قتل أحد الشبان الأثرياء في واحدة من البقع النائية للقارة اللاتينية ، مع رصف الدوافع والعوامل التي ساعدت في نشوء الاعتداء ، و التغيير الذي استبدّ في حيوات من عايشوا ذلك الحدث .

أكثر النقاط التي استوقفتني في الرواية هي إثبات إدانة الشاب من عدمها ، فأمام لا منطقية الأسباب يطرح لك ماركيز فكرة ماذا لو أنّ القتيل بريء و الدوافع مُلفقَة؟ ، كيف تُحصد حياة إنسان ما دون إثبات يُذكر !؟

كما يصف لك المجهود البدني والنفسي الذي يستدعيه قتل كائن بشري ، ليس في لحظة القتل فقط ، و إنما في الفترات اللاحقة بذلك الحدث ، فيقول عن أحد القتَلة :
" كنتُ كأنني مستيقظٌ استيقاظين " هذه العبارة جعلتني أفكر بأنّ أقسى ما عانياه في الزنزانة هو الصحو ..

و يروي أيضاً استحالة تغيير قدرٍ ما ، برغم المساعي التي تُبذل ولا تُبذل ، فلكلٍ دوره شاء أم أبى ، خاصة ما تجسد بدور الأم التي كان تدخلها القشة التي قصمت ظهر البعير .
القدر يجعلنا غير مرئيين


الرواية تحتاج قراءة صبورة في النصف الأول ، لتجني ثمارها الأدبية في النصف الثاني ، و بعد لقاءاتي العاثرة مع ماركيز فيما سبق ، هذه الرواية جعلتني أتصادق أخيراً مع قلمه .

They had decided he had to die, yet they wished someone had stopped them. The assassins of Santiago Nasar had gone, but in vain, beyond the imaginable not to kill him.
Among the villagers who heard the two Vicario brothers say that they would wash away their sister's honor, some did not believe it, and others who tried something failed with a lot of goodwill. Santiago Nasar died from multiple blows from his murderers.
Will chance or fate, the death of a man depend on a tradition of honor and a combination of unhappy circumstances? The investigator - it seems to be Gabriel Garcia Marquez himself - seems to believe it. And then, Nasar was an Arab, which made him an ideal culprit in this small Caribbean village despite the lack of evidence.
Although brief, this novel is teeming with contradictory sensations and feelings. Gabriel Garcia Marquez takes us into a wild and fascinating world. That's a colorful world, whimsical but authentic, sublimated by the Nobel Prize for Literature winner's admirable narrative imagination.

گفتار اندر معرفی کتاب
وقایع‌نگاری مرگی اعلام شده،
داستانی در ژانر معمایی به قلمِ گابوی عزیزم است که همانطور که از نامش پیداست داستانی‌ست که به قتلِ مردی عرب به نامِ «سانتیاگو نصار» می‌پردازد.
این داستان نیز همانند سایر نوشته‌های گابو مشخصه‌هایی داشت که به نوعی امضای گابو به حساب می‌آیند، از جمله: تکنیک پس و پیش کردن زمان، طنزهای مختص مردم امریکای جنوبی و از همه مهمتر سبک شخصی سازی شده‌ی رئالیسم جادویی که مرزهای خیال و واقعیت را در هم مخلوط می‌کرد اما به عنوان شخصی که عاشق گابو هست اعتراف می‌کنم به هیچوجه در این داستان از هیچ‌کدام از المان‌های گابو خوشم نیامد و آن حسی که همیشه پس از خواندن داستان‌ها و رمان‌هایش داشتم را تجربه نکردم.
باتوجه به حجم داستان،‌ طبیعی‌ست که به محتوا ورود نکنم اما اگر بخواهم کل کتاب را در چند کلمه خلاصه کنم به کلمات: ۱-پرده بکارت ۲-رابطه قبل از ازدواج ۳-قتل ناموسی. همین و تمام!
معتقدم گابو این داستان را می‌توانست در کمتر از چهل صفحه سر و تهش را بند بیاورد و این‌همه اطناب نیازی نداشت، این حرف را منی می‌زنم که در ریویوی رمان «عشق در زمان وبا» بر خلاف برخی از دوستانم نوشته بودم که اگر گابو داستان را در حجمی دو برابر هم می‌نوشت برایم تکراری و خسته کننده نمی‌شد اما آن داستان کجا و این داستان کجا و در داستانی معمایی که کشش پایینی هم داشت واقعا ضرورتی به این همه طول و تفصیل نبود!

نقل‌قول نامه
"همیشه باید طرفِ مُرده را گرفت."

"آدم هرچه که باشد، به مرور عشق را هم یاد می‌گیرد."

"جایی غم‌انگیزتر از بستری خالی نیست."

"مرده‌ها شلیک نمی‌کنند."

کارنامه
نه، نه، نه و باز هم نه!
این داستان، داستانی نبود که از گابوی عزیزم انتظار داشتم!
بعد از یک رمان سنگین آمدم یک نوول از نویسنده‌ی محبوبم بخوانم که به قول معروف «بشوره و ببره پایین» و هم یک داستان سبک خوانده باشم و هم ازش لذت ببرم اما این یکی داستان بهم نچسبید.
بخاطر شروع ضعیف و غیرقابل انتظار یک ستاره و اطناب‌های نه چندان جذاب گابو بر خلاف گذشته یک ستاره دیگر از کتاب کسر می‌کنم و نهایتا با ارفاق نیم‌ نمره‌ای سه ستاره برای این کتاب منظور می‌کنم.

I should start by confessing how Márquez's words have often flirted with me and I've fallen for his elongated, somewhat eccentric, prose style. In The Autumn of the Patriarch he took me on a satisfying and bewildering journey that secretly made me question his sanity. So I've come to expect that part-dizzying, part-dazzling style that makes this short work feel different, almost as if it was written by another Márquez, maybe a more controlled Márquez, but certainly not the same one who wrote One Hundred Years of Solitude.

Strangely, this book is more Márquez than the others. He had a friend who was murdered because he supposedly "deflowered" a woman (there are so many thoughts running through my head with the oddity of this, but I won't linger on the inhumanity of people). Since the victim's mother was a close friend, Márquez's mother didn't want him to use his journalistic skills and conduct narrative nonfiction or investigative reporting. In the end, he decided to explore his grief and conundrum through this work of fiction.

I can't remember a book I've read where in the first paragraph, the author tells me the character will be murdered, and yet there is still tension to drive the rest of the scene for me. With the complex and circular story structure, one is gracefully introduced to the dead Santiago Nasar, one nods at his killers, one meets the strange and mysterious groom,Bayardo San Roman, (who as it turns out is not really mysterious after all, maybe only an outsider searching for love) but one never truly understands Angela Vicario, the woman at the center of it all.
n  

She only took the time necessary to say the name. She looked for it in the shadows, she found it at first sight among the many, many easily confused names from this world and the other, and she nailed it to the wall with her well-aimed dart, like a butterfly with no will whose sentence has always been written.

n
Sure, the mystery is never truly solved because in real life, there was always lingering doubts. But storytelling maneuverability is something one can always lean on in a Márquez novel. I enjoyed reading this story that manipulates time and place, where characters are developed in such artful ways that the years slip by within two to five pages and I'm so enchanted that I don't notice how much these characters have changed, until later. Yet there is so much to be saddened by, so many people to feel pity for; each character seems to be the victim of the kind of conformity that strangles and butchers and turns good into evil. As in most of his novels, Márquez investigates the ways of an entire community, a culture, a country; he elucidates absurdities that lurk in common ways of thinking and the story seems to not only seek answers for the crime, but answers to the bafflement of complacency that allows murder without someone having the decency to say enough.

ما هذه القدره المذهله
أعتقد أنِّى مهمـا قرأت لن أقرأ لأحد يكتب مثل ما يكتب ماركيز

قصه لم تكن مبهره لكن غندما يكتبها ماركيز فهى كافيه كى يعبث فى جذورها وطرحها بهذا الاسلوب المذهل الذى طالما ادهشنى

أحقاً يوجد أفضل من ماركيز ؟
لا أعرف وأحتاج الكثير والكثير لكى اجيب على هذا السؤال

usually when i read garcia marquez i love it at first but then it just keeps circling and circling and eventually my brain shuts down and i pass out, but this time it just kept building and building and by the time i hit the end i thought i was going to explode. just one of the tensest and most mysterious books i've ever read in my life. also it was nice because i always read about marquez talking about how much he loves kafka but then i never see it in his books; this time around it was all right there, it all made sense and yet was its own thing. just marvelous. i feel like i finally broke through some kind of wall and now can handle the whole marquez thing.

Then they both kept on knifing him against the door with alternate and easy stabs, floating in the dazzling backwater they had found on the other side of fear.

ولم يكن ليستوعب بصورة خاصة كيف يمكن للحياة أن تستفيد من مصادفات كثيرة محظورة على الأدب، لتتم دون أي عرقلة عملية موت معلنة إلى هذا الحد..
Sun, Aug 14,2022