28 dic. 2014
Analysis of the story: That unforgettable day
Analysis of the story: That unforgettable day, Maria Gabriela Madrid
Here the translation of the analysis written by Jose Diaz Diaz regarding my short story "That unforgettable day". Maria Gabriela Madrid*
A young graduate in Tourism, who has just completed an internship at the Waldorf-Astoria in New York, with ring in hand prepares to travel by plane to the city where his girlfriend lives to ask her in marriage. The fatal signals that "destiny" was opposing that determination begin to appear and do not stop until the end, when in fact Francisco, arriving at the home of his beloved Antonia, finds her gloating with a lover. The climax of the end of the story is unexpected and unusual.
Techniques, tone, theme, plot, ending and everything else...
A dispassionate devoid of any morbid eroticism, the style of intelligent humor of Woody Allen, is what we find in this elaborate narrative piece of María Gabriela Madrid. The semantic structure obeys laws of 'Numerology' which gives it a feature of great secrecy. Something like magic mathematical universe that influences the lives of the characters and their relationships to keep us in a dramatic tension where everything is unpredictable.
The numbers and symbolic underlying pace and outcome of the argument as certain signs that lead to a deepening and vertical expectation. Omens that keep the reader in suspense. The three (the love triangle, the three wind ...) is the key number; thirty-three, the bridge to access the sixty-six; unexpected, hilarious and poignant end.
The tone that lends María Gabriela's speech from his omniscient voice is precise, safe, strong, and forceful. She manages the consciousness of its central character from the inside with skill and absolute security. No place for direct talks. It tells the story from a linear time-lapse combining present continuous narrative, future and flashback, achieving a fast pace that known literary readers- gourmets readers will savor the story. That way of feminine telling and sensual while stripped of all lust and lasciviousness, makes Madrid an owner of a style that will take her far in recognition of its high literary level. Her way to access the language reminds me of the Austrian Elfriede Jelinek who with her novels such as The Pianist, Obsession and Desire, among others, praised the way of feminine narrative to a place of privilege and respect.
Using the technique of Intertextuality fits naturally with the subject and with the argument: the book of Kamasutra is an icon of Eastern and Western culture, recognized in the universal imaginary, in the frame of “That unforgethable day” defined the absurdity of its protagonists.
The protagonist of the story, Francisco, becomes with the narrator Pen: clean, clear, close and human, especially very human. As readers, we believe the story of his life and suffer and enjoy their foolish decisions. Antonia, the antagonist, and the other secondary characters become blurred on purpose in order to raise the main actor who with his amazing determination changes its moral foundations, leaving the path of vulgar revenge and disrupts the pain of deception in passionate and aesthetic enjoyment. The image "(...) it would be the cheese between these slices of bread," referring to the trio of lovers, my view is the visual image where lies the great symbol of ethical wisdom (turn pain into pleasure) and aesthetic (hilarious humor) of this piece so well made.
It is compelling to say something about the scenery which recreates and serves as a backdrop to the story, especially the main hall of the house of Antonia, where the "voyeuristic" Francisco undergoes its most momentous afflictions between wind gusts, Chinese vases, palm trees, and the frenzied dance of the pages of the book of Kamasutra ... the space in this narrative fiction does not emerge as an isolated element but closely linked to the events, time and characters. There are stories in which the space comes to life and is related intensively with the feelings and actions of the characters and this is one of them; influences and conditions in their way of being and acting as an identification between the mood of the character and the space in which the action occurs.
That is the temple of Maria Gabriela Madrid, narrator who still has much to tell.
Now, without further ado, let the story