43 pages • 1 hour read
Gabriel García Márquez, Transl. Gregory RabassaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrator, still unsure whether the corpse found in the beginning of the novel is the dictator, states that no one is old enough to remember the first death of the dictator (who was actually Patricio). Recounting the lore, the narrator reflects that numerous nameless bodies had been found with signifiers similar to those found on this body. When exploring the house, there was still nothing that could identify the body as the General’s; not his mother’s room nor the bridal bedroom which still housed the many possessions of Leticia Nazareno, a nun kidnapped by the General from a convent in Jamaica and the mother of the only one of his 5,000 children who carried his surname.
The clothes and armor that they find don’t fit the body. Furthermore, some lore says that the General grew in size until he was 100 years of age and grew a third set of teeth by the time he was 150; the body that they find doesn’t match these proportions, but it does have a massive, herniated testicle and feet. The origins of the dictator have been lost to history by the time the narrator finds the body, but oral tradition and mythology says that he was conceived without a father by Bendición Alvarado. She is also of questionable origin. As his only kin, Bendición lived alongside her son in the presidential palace but never quite fit into the regime—and never wanted to. She said that “living in the presidential palace is like living with the lights on all the time” (45). Her resistance to power, both because of her exposure and her son’s paranoia, eventually gave the General cause to move her to her own mansion—particularly after she embarrassed him in front of British marines who’ve come to occupy the territory during war (and eventually flee because of an epidemic). She preferred instead to reside in the servant’s quarters alongside her maids.
The narrative moves back in time to this incident. British marines arrive to occupy the island during wartime and supersede the dictator’s power in his own country. They poke fun at him and even remove his concubines from the palace. It is only when an epidemic takes hold of the country that the marines are forced to leave and the General takes back his power with force. Only his mother reflects on what he was before all this power—and what he’s become since the marines took the power.
The narrator, through Bendición Alvardo’s perspective, reflects on the generals who led the Federalist War, the General included, and their various behavior in the palace. Sometimes they excrete in jars or get drunk or sleep with members of the presidential guards. Several die by suicide or kill each other until there are only six generals left. The General of the Universe kills them in the presidential palace to assuage his fear that they may kill him first. General Saturno Santos gets away, however. It isn’t until years later that he is caught and spared by the General to remain his servant until he dies, largely because the General believes him to be invincible and is impressed by his prowess. Bendición Alvarado continues to live as if she wasn’t as rich as she is, feeling angry with the colonizers who come to make a fool of her son. She assumes that the many trinkets that they trade for tobacco and land are running the presidential coffers dry.
The General’s closest hands—both the minister of health and General Rodrigo de Aguilar—ask the General to meet the most beautiful woman from the most impoverished part of the city: Manuela Sánchez from the dogfight district. The General promises to waltz with her, and then retracts his statement, saying she’s no different than any other woman from a slum. He gives her what she asks for and nothing more, which is running water and electricity. When he retires for sleep after his ritual which consists of covering 48 bird cages, locking three locks on his door, and looking 23 times at the sea through his windows, Manuela Sánchez appears without having undone the locks. In a dream, he attempts to flee Manuela. He wakes up and shouts through the corridors of the palace that it’s eight o'clock in the morning. Though it is still night, the guards and servants adhere, fashioning the palace windows with sheets and stars as necessary to reflect the time that the General demands.
Lovesick, and haunted by this dream, the General goes to the dogfight district to find Manuela Sánchez. He pursues her every day for months thereafter. His visits are chaperoned by the presidential guard (though he doesn’t know it) so he is protected and able to visit Manuela in what he thinks is secrecy. To please her, the General removes everyone from the area and refashions the district with new homes and green lawns for her birthday. The general takes away everything that she has ever known in his pursuit of her, including her home, family, and friends. After an historic comet passes over the sky which was supposed to mark the General’s death, Manuela recognizes her fate: that she is trapped by the love of the General.
The General begs his astronomers to recreate the comet. Since he cannot force a comet, they tell him instead of an upcoming total eclipse of the sun. During the eclipse, Manuela disappears without a trace. Though he thinks that her death might kill him, he knows that it won’t as he is fated to die of natural causes in his sleep in the same position he sleeps in every night: face down on the floor with his right arm under his head for a pillow, somewhere between the ages of 107 and 232.
The return to the body found in the palace by the unnamed narrator continuously reminds the reader of The Inevitability of Death. It also becomes Márquez’s consistent strategy to maintain the temporal structure of the novel. Though time isn’t linear in the text, and the narrator changes sometimes in the same sentence, the time of the discovery of the body of the General becomes a reference point for the reader from which to wander with the many narrators. The reader is given bits of information about the General, his wife, child, and mother through the ruins of their items in each section introduction, too, so the reader always returns to the corrosive end of the General’s rule at the beginning of each chapter.
The excessive bloodshed in this section highlights The Impact of Corruption on the Human Body. For example, the General murders the six generals left in his command to avoid any attempts to take his power. That he has six generals is a reference to Marcos Pérez Jiménez, as he only had six in his command. For the General of the Universe, however, this is still too many. Despite these attempts to get rid of any opposition to his rule, there are rebellions throughout the novel that show the futility of this slaughter in the long run. Márquez symbolizes this futility in a scene in which Bendición Alvarado attempts to clean up after the generals are killed and is “seized by a dizzy spell of horror as she discovered that the walls ooze blood no matter how hard she scrubbed them with lye and ash, lord, that the rugs kept on giving off blood no matter hard she wrung them out” (55). This scene conveys both the horror of despotic rule and the never-ending torrent of bloodshed that inevitably follows to keep power with nothing to show for it, really, in the end.
Furthermore, the narration of the various deaths of generals who had come to power after the Federalist War demonstrates the precarity of The Pursuit of Power. Some of the deaths are libertine and abject in nature: One general dies by shoving dynamite up his rectum, and others die of rabies from a cat. The General then kills all other officials left in his command out of his own paranoia that his power (or life) might be taken. This circus of power grabbing and extreme death is a consequence of totalitarianism, and the novel suggests there will never be enough power to go around, and there will never be enough power to defeat death.
The reader is introduced to Bendición Alvarez in more depth in Part 2, including her resistance to the power and wealth that she inherits from her son. Bendición prefers to remain within the realm of existence that she knows, even staying with her maids in the servants’ quarters when the General moves her to an eleven-room mansion. Bendición’s rejection of this wealth and power is an analogy for the possibility of refusing the gifts and wares of foreign colonists to maintain their own lives and cultural artifacts (something that her son never does). Her character is suggestive of the emptiness of wealth and power. Manuela Sánchez also rejects the “gifts” that the General bestows upon her. These gifts are nominally out of love, but they really are acts of destruction. The General removes from Manuela’s life everything she has ever known, assuming that what he offers is more desirable than what she has.
The symbol of the comet first appears in this section. The General witnesses a comet more than once in his life, which comes to represent his endurance and the persistence of his regime. The citizens of the nation are disheartened when he does not die, as was foretold, and instead that he lives. His long life becomes further justification of his position as president. The tension between nature and manmade power run throughout the narrative; in this instance, the General tries to orchestrate a comet, which he cannot do through force. The natural phenomenon that does occur, the solar eclipse, ends in his ruin with the disappearance of Manuela.
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