Leaf Storm
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| Author | Gabriel García Márquez |
|---|---|
| Original title | La Hojarasca |
| Country | Colombia |
| Language | Spanish |
| Genre(s) | Novel |
| Publisher | |
| Released | 1954 |
| Media type | Print (Hardback & Paperback) |
| ISBN | NA |
Leaf Storm is the common translation for Gabriel García Márquez's 1954 short novel La Hojarasca (The title also refers rather ironically to an amalgamation of useless words). Widely celebrated as the birthplace of Macondo, the fictitious village later made famous in One Hundred Years of Solitude, Leaf Storm is best read as a testing ground for many of the themes and characters later immortalized in said masterpiece.
The narrative of Leaf Storm shifts between the perspectives of three generations of one family as the three characters (father, daughter and grandson respectively) find themselves in a spiritual limbo after the death of a man passionately hated by the entire village yet inextricably linked to the patriarch of the family.
[edit] Plot Introduction
The Father, an aging, half blind man who carries the title of colonel within the village, feels an obligation to bury the recently deceased former doctor in spite of the consensus within Macondo that he should be left to rot within the corner house where he had lived in complete social isolation for the past decade. The daughter, Isabel, is obliged to accompany her father out of respect for traditional values while knowing she and her son will be doomed to face the wrath of her neighbors in Macondo. The narrative of the grandson, on the other hand, is more preoccupied with the mystery and wonder of death.
[edit] Plot Summary
As with many of his stories such as Love in the Time of Cholera and Chronicle of a Death Foretold, Gabriel García Márquez introduces a dramatic scene to begin his narrative and then moves backward, rehashing the past that will lead up to the ultimate conclusion. It is discovered within the narrative that the center of all the conflict (the deceased) is a doctor who came to Macondo with a mysterious past and no clear name. The man's only saving grace is a letter of recommendation from the Colonel Aureliano Buendía, a character later made famous in One Hundred Years of Solitude. It is this letter that leads the stranger to the family that serves collectively as narrator to the drama that unfolds.
The Deceased
After giving up on the practice of medicine and living at the expense of the family for an inordinate amount of time, the reclusive doctor moves two houses down with Meme, the indigenous house maid that had been living with the narrative family at the time. While his reclusive demeanour and lustful attention to the female form do not make him popular with the locals, the former doctor's ultimate banishment only occurs when nearly a dozen men, wounded from one of the country's many civil wars, are brought to his door in search of medical attention. The doctor, having given up the practice of medicine, refuses to save them as he once refused to help an ailing Meme while they had been living with the family of narrators.
Traces of Magical Realism
In addition to the themes of cyclicality and inversion that are bedrocks to the narrative fluidity of One Hundred Years of Solitude; Leaf Storm also demonstrates several other techniques identified with Magical Realism such as manipulation of time and the use of multiple perspectives.
| The Work of Gabriel García Márquez | |
|---|---|
| Novels The Evil Hour, One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, Love in the Time of Cholera, The General in His Labyrinth, Of Love and Other Demons | |
| Short Stories: Leaf Storm, No One Writes to the Colonel, Big Mama's Funeral, The Incredible and Sad Tale of Innocent Eréndira and her Heartless Grandmother, Strange Pilgrims, A Very Old Man with Enormous Wings, For The Sake of A Country Within Reach Of The Children, Memories of My Melancholy Whores | |
| Non-Fiction The Story of a Shipwrecked Sailor, Clandestine in Chile:The Adventures of Miguel Littin, News of a Kidnapping, Living to Tell the Tale | |
