Post 20

Although Gabriel García Márquez doesn’t specify who the “we” are in the novel, it is assumed that they are Nabo’s slave-owners. They show little interest in his ability to sing, suggesting that they have no intention of getting to know Nabo on a personal level.

“In the beginning, when he first came to the house and we asked him what he could do, Nabo said that he could sing. But that didn’t interest anyone. What we needed was a boy to curry the horses.” (García Márquez 76)

Nabo’s ability to sing shows a great sense of morale despite his current situation. He knows how to “whistle while he works,” and gets through his job quite painlessly by doing so. He doesn’t appear to be miserable at his job and finds great joy in attending the Saturday night music ceremonies with the Negro playing the saxophone. Music is a reoccurring theme throughout this short story. With Nabo’s singing, the black man’s saxophone-playing, and the deaf girls ability to turn the gramophone allude to the inevitable death of Nabo when he is asked join the angel’s choir.

Post 19

“Nabo saw the man again. ‘A horse kicked me,’ he said. And the man said: ‘You’ve been saying that for centuries and in the meantime we’ve been waiting for you in the choir.’ Nabo shook his head again, sank his wounded forehead in the hay once more, and thought he suddenly remembered how things had happened.” (García Márquez 79)

There are unusual lapses of time throughout “Nabo: The Black Man Who Made the Angels Wait.” First is the slave-owners’ interpretation of time, which consists of fifteen years since Nabo was kicked in the face by the horse. The second interpretation of time consists of the supposed angel who has been waiting an “eternity” for Nabo to wake up. It appears that Nabo is stuck in limbo, torn between two different worlds: the natural and the supernatural. This common theme seems to reoccur consistently in Gabriel García Márquez’s short stories. The surrealism of the Nabo hallucinating the angel (or is he?) is reminiscent of Don Quixote’s experience in the Cave of Montesinos.

Post 18

Manfred Jahn’s description of an ellipsis is practically represented in all of Gabriel García Márquez’s writing along with Miguel de Cervantes Saavedra’s Don Quixote. Authors seem to use this technique quite often because it proves to be very useful when describing scenes that don’t include many significant details.

ellipsis/cut/omission A stretch of story time which is not textually represented at all. ‘The discourse halts, though time continues to pass in the story’ (Chatman 1978: 70). Some critics consider ellipsis a special case of speed-up. Genette (1980 [1972]: 93, 95, 106-109); Rimmon-Kenan (1983: 53); Toolan (1988: 56).” (Jahn N5.2.3)

An ellipsis, or a cut in time, saves the reader and author from reading and writing unnecessary information that may be irrelevant to the plot. This is seen in Don Quixote’s scene with the Cave of Montesinos where the reader skips over approximately a half hour of empty story time, which in reality only took thirty seconds to read through. These time lapses are also present in Nabo’s tale where he has grown from a young boy to a full-grown adult, causing a ruckus at the end of the story as he tries to regain consciousness. What originally only took about fifteen minutes to have read, spanned over fifteen years in story time. An ellipsis is a very beneficial tool in writing, otherwise, literature would take years to complete and read.

Post 17

The ending of Gabriel García Márquez’s tale of Nabo is quite tiresome when reading it aloud. The last paragraph is one tremendous run-on sentence that shocks the reader with the last sentence as the deaf girl screams out Nabo’s name.

“…still with the rope they had tied him with fifteen years before (when he was a little black boy who looked after the horses); and (before reaching the courtyard) he passed by the girl, who remained seated, the crank of the gramophone in her hand since the night before (when she saw the unchained black force she remembered something that at one time must have been a word)… (García Márquez 81-82)

The vocabulary used in this passage is particularly interesting considering it has no end until a full page later. The term “something that at one time must have been a word,” suggests that Nabo looks like something that is inhumane. It leaves the author wondering what something that has been rotting for fifteen years must look like, or even worse, smell like. García Márquez’s choice to make this ending paragraph a run-on sentence tells me that he wanted the reader to feel a sense of chaos and disorientation. It is so powerful to imagine this creature, similar to Bertha Mason in Charlotte Bronte’s Jane Eyre, coming back to life practically as a zombie with so powerful a demonstration that even the deaf girl can muster up the words “Nabo! Nabo!” Everything in the story has built up to this moment and it delivers a satisfying ending.

Post 16

Mass confusion ensues when reading Gabriel García Márquez’s “Eyes of a Blue Dog” for the first time. Starting the story off with a scene occurring inside of a dream is very alien for a student of literature that is not familiar with the author’s style of writing. It was only later on that I gained a sense of what García Márquez’s writing style was like and how to approach a basic understanding of it.

“When she finished, she closed the box, stood up again, and walked over to the lamp once more, saying: ‘I’m afraid that someone is dreaming about this room and revealing my secrets.’” (García Márquez 51)

Thoughts of Christopher Nolan’s Inception and Guillermo Samperio’s “She Lived in a Story” instantly came to mind once I acquired a basic understanding of the story. After analyzing the story several times, I began to doubt the narrator more and more. We are only given the man’s perspective of the story and it struck me later on that he might not be entirely reliable. There is no omniscient narrator, which rules out any neutrality amongst the characters. As far as plot goes, “Eyes of a Blue Dog” transcends reality and makes the reader question how meaningful our dreams truly are.

Post 15

“We’re waiting for you, Nabo. You’ve been asleep for almost two years and you refuse to get up” (Gabriel García Márquez 75).

There is a reoccurring trend in Gabriel García Márquez’s’s stories: supernaturalism. At first I felt very hesitant towards his strange writing style because I had never analyzed literature under such a thick lens. As Rehana mentioned twice in class, why would somebody write these types of stories? The answer to that is quite simple, actually: people like them. People like to read and write stories such as these either because they have a taste for the science fiction genre or they have grown tiresome of the same boring literature that has minimal rereading value. Stories from authors such as García Márquez and Guillermo Samperio practically force readers to go through their stories more than once. Eventually, this becomes less of a chore and more of a treat because of the newfound details that arise out of every new reading. Not to mention these pieces are extremely ambiguous. The possibilities are endless in literature, especially when things aren’t plain and ordinary. So whether it’s meeting through a dream, existing in limbo, or turning into a cockroach, a little supernaturalism can go a long way.

Post 14

“Eyes of a Blue Dog” contains one narrator who we as readers are expected to question the legitimacy of throughout the story.

“narrative distance The temporal and psychological distance between the narrating I and the experiencing I. Usually, the narrating I is older and wiser than the experiencing I” (Jahn N3.3.2).

As Manfred Jahn mentioned in his description, the speaker is older than he was in the story because he is narrating in the past tense. For all we know, he can be stretching the truth or even fabricating the entire story. There is never any mention of the man’s background, which leads me to believe that he was a poor lonely soul before he invented this woman to the point of exploiting her insanity to the whole world by advertising “eyes of a blue dog” in lipstick on the drugstore’s tile floor. The madness of this idea being the author’s intention may be a stretch, however I do believe García Márquez encouraged his readers to open their minds to any possibility they could fathom.

Post 13

“Little by little we’d been coming to understand that our friendship was subordinated to things, to the simplest of happenings. Our meetings always ended that way, with the fall of a spoon early in the morning.” (García Márquez 55)

This particular passage caught my interest because I can’t even begin to touch upon how many times I have been woken up from a good dream because of something as simple as a “spoon falling” or the wind blowing. It’s as if the dream is wisped away by some supernatural force that is telling us to go out and (not to sound corny) reach for our dreams. Basically what happens to the woman in “Eyes of a Blue Dog” is the same exact thing. Although she may come off as insane, she genuinely believes that her dreams have a connection to reality. Unfortunately for the man, he forgets everything the second he wakes up. What a pity.

Post 12

“literary space The environment which situates objects and characters; more specifically, the environment in which characters move or live in” (Jahn N6.2).

The importance of creating an enthralling atmosphere for an author’s characters to live in is mammoth. Gabriel García Márquez’s uses dream states to convey most of his character’s situations. Although Nabo isn’t physically in a dream state, his mind and soul are. Along with Nabo, the man and woman from “Eyes of a Blue Dog” are mostly communicating through their dreams. García Márquez enjoys writing about the surreal aspects of life and taps into the reader’s mind by doing so. In a way, he transcends the literary space of the page and turns the reader’s imagination into his own literary space. He makes our heads his own territory for telling the story, as do all authors. García Márquez just happens to excel at it more than others.

Post 11

The experience of forgetting what happened in a good dream can be quite frustrating. Although we may remember it being pleasant, the memory is what really matters. However, it is said that the deeper we sleep, the more difficult it becomes to remember our dreams.

“And she, with a sad smile – which was already a smile of surrender to the impossible, the unreachable – said: “Yet you won’t remember anything during the day.” And she put her hands back over the lamp, her features darkened by a bitter cloud. “You’re the only man who doesn’t remember anything of what he’s dreamed after he wakes up.” (García Márquez 57)

Gabriel García Márquez’s short story, “Eyes of a Blue Dog,” transcends our basic notions of the subconscious by delving into the surrealism of dreams and how these experiences impact our day-to-day lives. Through the use of a lucid dream realm, Márquez romantically connects two souls that can only interact while in this state of mind. However, once both charcters awake, only the female is aware of the events that took place in the dream. Similar to how we dream about something we desire, Márquez touches upon this subject through means of striving for something that we cannot attain.