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45 pages 1 hour read

Gabriel García Márquez

Chronicle of a Death Foretold

Fiction | Novella | Adult | Published in 1981

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Chapter 1Chapter Summaries & Analyses

Chapter 1 Summary

Santiago Nasar wakes up early on the day that he will be killed. He rises early to wait for the arrival of a boat; onboard is the bishop. The previous night, Santiago dreamed about “a grove of timber trees” (1). Now, he is nursing a headache as he slept “little and poorly” (2). People will not quite remember whether the weather is cloudy or fine on the morning of Nasar’s murder. They will all agree that he was in a good mood. Santiago is dressed in white linen clothes. He wore the same outfit to a wedding the previous day.

Santiago visits Plácida Linero, his mother, to ask for aspirin. He is a pale, slim man and an only child. His parents married for convenience rather than love. From his mother, he is said to have inherited a sixth sense. From his father, he inherited a love for guns, horses, and falcons. Like his father, he typically sleeps with his gun “hidden in his pillowcase” (3), but on this particular morning he removes the bullets and leaves the gun on his nightstand. Santiago’s father had Arab ancestry; he and his father would speak in Arabic to one another. The death of Santiago’s father caused Santiago to lose faith in his academic pursuits. He dropped out of school “to take charge of the family ranch” (6).

According to Victoria Guzmán, the weather was clear on the day of Santiago’s murder. She was in the kitchen, preparing rabbit meat. She works as a cook in Placida’s home. Santiago enters the kitchen and is served a cup of coffee and liquor by Victoria’s daughter, Divina Flor. Santiago drinks such a coffee “to bear the burden of the night before” (7). As she takes the cup from Santiago, he unexpectedly grabs her arm and tells her that the time has come for her to “be tamed” (8). Victoria dismisses him, brandishing her bloody knife. She claims that she will never be “tamed” while she remains alive. When she was an adolescent, she had an affair with Santiago’s father. Both Victoria and her daughter have heard the rumors in town that someone plans to kill Santiago. They both dismiss the rumors as untrue, however.

The “earthshaking bellow of the steam boat” (9) wakes everyone in the house. Santiago is led to the front door by Divina. Unusually, Santiago uses the front door of the house. He only uses this door—which is usually locked—on “festive occasions” (10). On his way out, Santiago sexually assaults Divina, as “he always did when he caught [her] alone in some corner of the house” (12). She feels an urge to cry. According to Divina, the moment Santiago exited the house, the boat horns stopped, and the cockerels started to crow. Unseen by Santiago, someone has slipped an envelope under the door. Inside, an unnamed person warns him that he may be murdered. The envelope will not be found until “long after” (13) the murder.

As Santiago and his family walk to meet the bishop, two men wait for him in the local milk shop. They are twins named Pedro and Pablo Vicario; they intend to murder Santiago. They are “hard-looking, but of a good sort” (14). Still dressed in their dark wedding suits from the day before, they hide their knives in old newspapers.

A crowd has gathered on the dock with presents to give to the bishop. Though the crowd is waiting for him, the bishop never steps off the boat. He stands on the deck, making “the sign of the cross” (16), until the boat sails away. He chats to his friend about the cost of the wedding and “the wildest party the town had ever seen” (17). Margot—the narrator’s sister—speaks to Santiago. She invites him to her house for breakfast. She is attracted to Santiago and feels happy for Santiago’s fiancé, Flora Miguel. Santiago accepts the breakfast invitation but insists on returning home first to change into “his riding clothes” (18). Everyone on the dock seems to know about the rumors concerning Santiago’s murder. Most of them believe the rumors are nothing more than gossip. They consider it to be “impossible” that he has not been warned.

On the dock, Margot speaks to people who have visited the home of Angela Vicario, the sister of the twins, Pedro and Pablo. The previous day, Angela married Bayardo San Román. When the time came to consummate the marriage, however, Bayardo returned Angela to her parents’ home. He declared that “she wasn’t a virgin” (20), so he could not marry her. Margot cannot imagine how Santiago has become embroiled in this scandal. She returns home and talks to her mother, Luisa Santiaga. Margot tells her mother about the rumors concerning Santiago’s murder. Luisa visits Plácida to share these ominous rumors. As she walks to Placida’s house, however, a person runs past and announces that “they’ve already killed him” (23).

Chapter 1 Analysis

Chronicle of a Death Foretold is structured like a reflection, embodying The Reconstruction of Memory. The unnamed narrator flits through the chronology of the story in a non-linear fashion, writing many years after the event. This creates a destabilizing effect in the story. Santiago’s murder is presented as inevitable and the events leading up to it are presented as a chaotic unravelling of social responsibility. Though the plot begins with Santiago fetching a coffee on the morning of his death, the narrative jumps back and forth across chapters and paragraphs, with the only constant being the narrator’s reflective tone. This means that the narrator is the sole chronological constant—everything else is in a confusing state of flux, liable to skip ahead days or hours in the pursuit of truth, while the narrator remains in his authorial position.

The narrator lacks “powers of divination” (19), meaning that he faces a battle between subjectivity and objectivity. He wishes to create an objective chronicle of how Santiago’s death was foretold (and, by implication, how it might have been avoided). Instead, he is made to describe the numerous, conflicting subjective memories of the day. Dreams, the weather, and powers of divination made the search for an objective reality even more difficult, as the narrator can never be certain of the truth when the people of the town cannot agree on the nature of the truth.

Uncertainty is a central point in the narrator’s version of events. In the opening, the narrator tries to describe the weather. He says that “most agreed” (2) that the weather was funereal, but there are important dissenters. Even something as benign as the weather is open to interpretation and disagreement. This matter of interpretation is also shown when Santiago’s mother Plácida incorrectly focuses on the “grove of timber trees” (1) in his dreams, rather than the more portentous birds. She is given a piece of information and interprets it incorrectly, foreshadowing the narrator’s job in piecing together some semblance of truth from many contradictory versions of events.

The novella’s nonlinear structure is also important to the central idea of the story: Santiago’s murder seems inevitable, yet everyone feels some sense of responsibility for allowing it to take place. The novella begins and ends with Santiago on the day of his murder but, through the reflective structure, the narrator provides space for himself and the other townspeople to look back on how they allowed the murder to transpire, reflecting the novella’s thematic preoccupation with The Complicity of the Crowd.

The visit of the bishop is a non-event which holds great importance. This is not the first time that the bishop has visited the town. He hates the town, allegedly, so he only ever stands on the deck of the boat as it passes by. Despite these repeated refusals to step onto the land, the people still gather on the dock to welcome the bishop, should he choose to disembark. Santiago is one such person, leaving the house early in a special outfit just in case today is the day that the bishop finally decides to break from a lifetime of habit. Had Santiago not gone, he would be wearing different clothes. These other clothes would include his pistol, meaning that he would have been armed when the twins confronted him.

Santiago joins the throng of the crowd as they gather on the dock and wait for the inevitable to happen. The bishop’s boat passes and he remains onboard, just as everyone expected. Santiago knew this would happen but went along with the crowd anyway, just as many people will watch with horror as Santiago is stabbed to death. This foreshadowing shows how being a part of mass inevitability seems like a necessity in the small town. Minor threads of fate—such as the change of clothes or the disembarking bishop—alter the course of history, particularly for Santiago. The fate of the bishop and the fate of Santiago seem similarly sealed. Even though both seem inevitable, even Santiago himself knows that these events must be witnessed by a crowd to ensure that inevitability unfolds, just as expected.

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