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قديم 01-15-2013, 04:04 PM
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Pedro Páramo
is a short novel written by Juan Rulfo, originally published in 1955. In just the 23 FCE editions and reprintings, it had sold 1,143,000 copies by November 1997. Other editions in Mexico, Spain, and other nations have sold countless more copies. It is Rulfo's second book, after the short story collection El Llano en llamas, translated into English as The Burning Plain and other Stories. It has had a major influence in the development of magical realism and it is told in a mixture of first and third person narration. Gabriel García Márquez said that he had not felt like that since reading The Metamorphosis, while Jorge Luis Borges called it one of the best novels in literature.[1]
The novel has been translated twice into English. The more recent translation is by Margaret Sayers Peden which has received numerous film adaptations. The first, by Spanish film director Carlos Velo and starred by American actor John Gavin in 1967 [2] and the latest will star Gael García Bernal and be directed by Mateo Gil.[3]

Synopsis</SPAN>

The novel is set in the town of Comala, considered to be Comala in the Mexican state of Colima.
The story begins with the first person account of Juan Preciado, who promises his mother at her deathbed that he will return to Comala to meet his father, Pedro P&aacute;ramo. Juan suggests that he did not intend to keep this promise until he was overtaken by subjective visions of his mother. His narration is fragmented and interspersed with fragments of dialogue from the life of his father, who lived in a time when Comala was a robust, living town, instead of the ghost town it has become. Juan encounters one person after another in Comala, each of whom he perceives to be dead. Midway through the novel, Preciado dies. From this point on most of the stories happen in the time of Pedro P&aacute;ramo. Most of the characters in Juan's narration (Dolores Preciado, Eduviges Dyada, Abundio Mart&iacute;nez, Susana San Juan, and Damiana Cisneros) are presented in the omniscient narration, but much less subjectively. The two major competing narrative voices present alternative visions of Comala, one living and one full of the spirits of the dead. The omniscient narration provides details of the life of Pedro P&aacute;ramo, from his early youthful idealization of Susana San Juan, his rise to power upon his coming of age, his tyrannical abuses and womanizing, and, finally, his death. Pedro is cruel, and though he raises one of his illegitimate sons, Miguel P&aacute;ramo (whose mother dies giving birth), he does not love him. He does not love his father (who dies when Pedro is a child), or either of his two wives. His only love, established from a very young age, is that of Susana San Juan, a childhood friend who leaves Comala with her father at a young age. Pedro P&aacute;ramo bases all of his decisions on, and puts all of his attention into trying to get Susana San Juan to come back to Comala. When she finally returns, Pedro makes her his, but she constantly mourns her dead husband Florencio, and spends her time sleeping and dreaming about him. Pedro realizes that Susana San Juan belongs to a different world that he will never understand. When she dies the church bells toll incessantly, provoking a fiesta in Comala. Pedro buries his only true love, and angry at the indifference of the town, swears vengeance. As the most politically and economically influential person in the town, Pedro crosses his arms and refuses to continue working, and the town dies of hunger. This is why in Juan's narration, we see a dead, dry Comala, instead of the luscious place it was when Pedro P&aacute;ramo was a boy.
Themes</SPAN>

People's hopes and dreams being the source of the motivation they needed to succeed is a major theme in the book. Hope is each character's central motive for action. As Dolores tells her son, Juan, to return to Comala, she hopes that he will find his father and get what he deserves after all of these years. Juan goes to Comala instilled with the hope that he will meet and finally get to know his father. He fails to accomplish this and dies fearful, having lost all hope. Pedro hopes that Susana San Juan will return to him after so long. He was infatuated with her as a young boy and recalls flying kites with her in his youth. When she finally returns to him, she has gone mad and behaves as though her first husband were still alive. Nevertheless, Pedro hopes that she will eventually come to love him. Dorotea says that Pedro truly loved Susana and wanted nothing but the best for her. The Padre lives in hope that he will someday be able to fully fulfill his vows as a Catholic priest and tell Pedro that his son will not go to heaven, instead of pardoning him for his sins in exchange for a lump of gold because he is too poor to survive otherwise. Along hope, despair is the other main theme in the novel. Each character's hopes lead to despair as none of their attempts to attain their goals are successful. Ghosts and the ethereal nature of the truth are also recurrent themes in the text. When Juan arrives in Comala it is a ghost town yet this is only gradually revealed to the reader. For example, in an episode with Damiana Cisneros, Juan talks to her believing that she is alive. They walk through the town together until he becomes suspicious as to how she knew that he was in town, and he nervously asks, “Damiana Cisneros, are you alive?” This encounter shows the truth as fleeting, always changing, and impossible to pin down. It is difficult to truly know who is dead and who is alive in Comala. Sometimes the order and nature of events that occur in the work are not as they first seem. For example, midway through the book, the original chronology is subverted when the reader finds out that much of what has preceeded was a flashback to an earlier time.