Embedded Files
Gabriel García Márquez: Colombian
Crónica de una muerte anunciada
first published in 1981, Narrative genre.
It tells, in the form of a pseudo-journalistic reconstruction, the story of the murder of Santiago Nasar by the Vicario twins.
Santiago Nasar acababa de dejar a Cristo Bedoya en la tienda de Yamil Shaium, y había tanta gente pendiente de él en la plaza, que no era comprensible que nadie lo viera entrar en casa de su novia.
Google Translator
Santiago Nasar had just left Cristo Bedoya at Yamil Shaium's store, and there were so many people watching him in the square that it was not understandable that no one saw him enter his girlfriend's house.
CafeTran Espresso
Santiago Nasar had just dropped off Cristo Bedoya at Yamil's tent Shaium, and there were so many people waiting for him in the square, that he was not understandable that no one saw him enter his girlfriend's house.
El juez instructor buscó siquiera una persona que lo hubiera visto, y lo hizo con tanta persistencia como yo, pero no fue posible encontrarla.
The investigating judge even looked for someone who had seen him, and he did so with as much persistence as I did, but he could not be found.
The Judge instructor looked for even one person who had seen it, and he did it with as much persistence as I did, but it was not possible to find it.
En el folio 382 del sumario escribió otra sentencia marginal con tinta roja: La fatalidad nos hace invisibles. El hecho es que Santiago Nasar entró por la puerta principal, a la vista de todos, y sin hacer nada por no ser visto.
On page 382 of the summary he wrote another marginal sentence in red ink: Fatality makes us invisible. The fact is that Santiago Nasar entered through the main door, in sight of everyone, and without doing anything to avoid being seen.
On folio 382 of the summary wrote another marginal sentence in red ink: La fatidad nos makes invisible. Santiago Nasar entered through the front door, in full view of everyone, and doing nothing to not be seen.
Flora Miguel lo esperaba en la sala, verde de cólera, con uno de los vestidos de arandelas infortunadas que solía llevar en las ocasiones memorables, y le puso el cofre en las manos.
Flora Miguel was waiting for him in the living room, green with anger, wearing one of the unfortunate dresses she used to wear on memorable occasions, and she placed the chest in his hands.
Flora Miguel it waiting in the room, green with anger, with one of the washer dresses unfortunate things that he used to wear on memorable occasions, and he put the chest injuries
—Aquí tienes —le dijo—. ¡Y ojalá te maten!
Santiago Nasar quedó tan perplejo, que el cofre se le cayó de las manos, y sus cartas sin amor se regaron por el suelo.
"Here you are," he said . And I hope they kill you!
Santiago Nasar was so perplexed that his chest fell from his hands, and his loveless letters scattered on the floor.
'Here you are,' she told him. 'And I hope they kill you!.
Santiago Nasar was so perplexed, that the chest fell out of his hands, and her unloving letters were watered on the ground.
Trató de alcanzar a Flora Miguel en el dormitorio, pero ella cerró la puerta y puso la aldaba. Tocó varias veces, y la llamó con una voz demasiado apremiante para la hora, así que toda la familia acudió alarmada.
He tried to reach Flora Miguel in the bedroom, but she closed the door and set the knocker. She knocked several times, and called her in a voice that was too urgent for the hour, so her whole family came in alarm.
He tried to reach Flora Miguel in the bedroom, but she closed the door and set the knocker. He touched several times, and he called her in a voice too urgent for the hour, so the whole family came in alarmed.
Entre consanguíneos y políticos, mayores y menores de edad, eran más de catorce. El último que salió fue Nahir Miguel, el padre, con la barba colorada y la chilaba de beduino que trajo de su tierra, y que siempre usó dentro de la casa.
Between blood relatives and politicians, adults and minors, there were more than fourteen. The last one to leave was Nahir Miguel, his father, with the red beard and the Bedouin djellaba that he brought from his land, and that he always wore inside the house.
Between blood relatives and politicians, elders and minors, were more than fourteen. The last one out was Nahir Miguel, the father, with the red beard and the Bedouin peppers that he brought from his land, and that he always used inside the house.
Yo lo vi muchas veces, y era inmenso y parsimonioso, pero lo que más me impresionaba era el fulgor de su autoridad.
I saw him many times, and he was immense and slow, but what impressed me most was the brilliance of his authority.
I saw it many times, and it was immense and parsimonious, but what impressed me the most was the brilliance of your authority.
Santiago Nasar had just left Cristo Bedoya at Yamil Shaium's store, and there were so many people hanging on his movements in the square that it was difficult to believe that no one saw him go into his fiancee's house. The investigating magistrate looked for a single person who'd seen him, and he did so with as much persistence as I, but it was impossible to find one.
In folio 382 of the brief, he wrote another marginal pronouncement in red ink: Fatality makes us invisible. The fact is that Santiago Nasar went in through the main door, in full view of everyone, and without doing anything not to be seen. Flora Miguel was waiting for him in the parlour, green with rage, wearing one of the dresses with unfortunate ruffles that she was in the habit of putting on for memorable occasions, and she placed the chest in his hands.
"Here you are," she told him. "And I hope they kill you!"
Santiago Nasar was so perplexed that he dropped the chest and his loveless letters poured out onto the floor. He tried to catch Flora Miguel in the bedroom, but she closed the door and threw the bolt. He knocked several times, and called her in too pressing a voice for the time of day, so the whole family came in, all alarmed. Counting relatives by blood and by marriage, adults and minors, there were more than fourteen of them.
The last to come was Nahir Miguel, the father, with his red beard and the Bedouin caftan he had brought from his homeland and which he always wore at home. I saw him many times and he was immense and spare, but what most impressed me was the glow of his authority.
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