Licen, Christian Ray C.
BA English Major in Literature
III-V
Selection: Gabriel Garcia Marquez’ “Death Constant Beyond Love”
Critical Approach: Post-Modernism
Post Modern Analysis of
Gabriel Garcia Marquez’ ‘Death Constant Beyond Love’
Forty-two, happily married, stable and successful in his mid-career as a politician in full control and power, Senator Onesimo Sanchez is made to feel suddenly helpless and hopeless when told that he will die the soonest for about six months and eleven days. With the conflict given beforehand, events unfold as to how the protagonist lives up to the fullest for his remaining days. Eventually, his political maneuverings for the upcoming elections of seeking another post as a senator had persisted, thus, pinning down people’s hopes and aspirations. Furthermore, his steering desire to make up for the people’s hopes had only brought out a ‘fictional world’ for them. How can he ever manage to display an intricate show of an ideal village set in huge cardboards and canvasses if he only wishes to induce their beliefs of offering the illusion of future prosperity? Who would ever think he had delivered a line from Marcus Aurelius’ Meditations saying that “we are here for the purpose of defeating nature”? Well, everything is possible in the political arena. Such tactical polemics are never novel in any bloating-bellied demagogue. The similarity of the cardboard village and ocean liners as part of his show reflects his fed-up hopes of extending his power through latent exploitation of the poor. How this is manifested in the story would only imply that at the other side of things, there lingers an inherent imbalance between vice and virtue. If only he had been true and sincere enough, he would have succumbed to take a hiatus and re-channel his energies to make up for his remaining time. But I guess, the senator is fed-up with his viciousness. Though he thought of escaping the manacles of death, he still is more or less troubled by his fate.
Moreover, his encounter with Lara had exacerbated a climacteric turmoil. Lara is the daughter of Nelson Farina, who sought of getting a false identity card which would place him beyond the reach of law. His insistence had only left him in despair when Onesimo Sanchez continually neglects him every time he seeks for help on the matter. Desperate enough, he managed to bargain his own daughter as the bait for his wanton desire. In the course of the story, Laura with all due respect for his father went to Onesimo to offer herself. And so, it happened that Onesimo succumbed and tethered to his erotic passions that by the time he almost reached the ‘climax’, he found out astonishingly that Laura had worn a chastity belt. It is but funny to think of the incident; Onesimo can only unlock it once he will grant the long-sought favor of Nelson Farina. Estranged by the thought, he fell into the virgin arms with Laura on a scandalous slumber as symbolized the shadow of the rose and sinking of his face into woods the moment they slept together in one bed. Then the rest is history.
Such themes reveal a Garcia-Marquez stream of thought. Elements of solitude and morbidity prevail in his oeuvres which this story is highly characterized of. More so, Onesimo Sanchez’ failure had only brought about his own demise- not just the physical death I’m talking about but also the “deadlock” of his political career: the senator is reduced to a basic and instinctual existence, also expressive of Gabriel Marquez’ recurring themes. Lara provided Onesimo an opportunity to fulfill his orgasmic fantasies to escape death. But eventually, it had only worsened the situation. He will awake in disastrous controversies of sleeping with a courtesan. That I think would really compromise the crises he has been mired with. This grotesque reality proves to mirror a delusion to hide from death in erotic love. Seemingly, the senator’s wrong choice had proved him futile, thus, evoking pathos for the readers. Very pathetic indeed! But reality bites. One hardly denies or escapes into this kind of predicament supposedly. The fate that has brought Onesimo Sanchez prevails in our every encounter with life’s vicissitudes. Ostensibly, the evident reality of this story lies in our moral consciousness to weigh things down by exercising it judiciously. This calls for moral ascendancy on matters with decision-making, a critical outpouring of one’s existence.
Ironically, the juxtaposition of the title itself as death constant beyond love defeats the universal constructive belief that love is constant beyond death. The manifestation of this nuanced juxtaposition leaves to the consciousness of the readers as a way of reversing a corruptive proclivity into their own exercise of justice and morality. More importantly, this story teaches us to be more circumspect and justifiable in every course of action we undertake for our future depends on this. This should be substantiated by a potent self-will that knows how to distinguish between right and wrong, good and evil, and life and death. The story may end uncertainly, as what post-modern stories usually are, but our judgment over our choices in life would affect the way we live with it certainly, this I can assure. And the challenge of making the right choices is left with the readers either they settle at the top, at the bottom or half-way. Maybe, one may just run in circles.
