Assignment # One

Posted: November 26th, 2013

Assignment # One

Part 1

Question 1

  1. Magical realism in the narrative appeals to a critical reflection on the story as it encompasses daily interactions occurring within the human race with satiric tendencies that tend to lighten the mode in which the message is given, without diluting the content. It ensures that the readers are reprimanded in a manner that does not ignite resentment[1]. The egocentricism of the village dwellers and ungratefulness of Pelayo’s family is realistic as it amplifies a pragmatic occurrence but the ability of the human to have wings and a spider’s body fitted with a human head is magical.

Question 2

4        The human association depicted in the poem is that of an extensive friendship that has persisted in a finite time that feels like forever, yet marked with sessions of divergence that have had an inverse effect of making the allies stronger in their relationship[2]. The tragedy however lies in the fact that the mind game was initiated as a consensual accord at a point in their lives and instead of leading to the creation of a bond, a divisive association developed. The result only holds obliteration for either of the two, with no provision for unity.

Question 3

  1. The socio-economic divide created in the tale is used to amplify the current crisis that is presently practiced in most geographical locations with regard to child labor[3]. The character of the children in brutal in nature, perhaps evidencing the unconstructive effect that is founded on the deprivation of childhood stage. The depiction is thereby necessary in evidencing the detrimental impact of child labor.

Question 5

  1. The father in the narrative seemingly deserts his family and acquires a permanent residence in a close river where the family could see him rowing. The boat is fashioned for a sole occupant, affording no additional room for any other person[4]. The reasons given towards the departure are mainly accorded to the wife who tends to be very commandeering and never grateful for the monetary and non-monetary roles that the father offers to his family.

Question 6

  1. The tree is representative if Brigida’s identity, and literally depicts her emotional being[5]. The tree initially has a thriving life before drying up, creating congruence with Brigida’s life and expectations in marriage that begin from the leafy and productive phase and gradually desiccates with the realization that her marriage prospects will never be rewarded.





Question 4

Silvina Ocampo’s The Inextinguishable Race is a classic depiction of structural collapse in the world with regard to societal roles that have persisted across generations as acceptable practices. The adult characters employed in the narrative have afforded themselves to leisure activities as evidenced by the gatherings whereas the children are accorded working roles for monetary gain[6]. The wages are used to support the various families. The breakdown is undoubtedly outlined in role swapping for both the young ones and the adult population. The effects of each are precisely outlined by the writer.

Assignment # Two

Part 1

2                    The wife uses the cat to fulfillment purposes. This is to fill in the gap that the husband has left by her husband’s use of excessive control and carelessness.


















Bassnett, Susan. Knives and angels: women writers in Latin America. London, UK: Zed Books, 1990.

Bombal, Maria L. New Islands: And Other Stories. New York, NY: Farrar, Straus and Giroux, 2003.

DiYanni, Robert. Literature: Reading Fiction, Poetry, and Drama. Monterey, CA: McGraw-Hill, 2001.

Echevarria, Gonzalez R. The Oxford book of Latin American short stories. Oxford, UK: Oxford University Press, 1997.

Grossman, William L. Modern Brazilian short stories. Los Angeles, CA: University of California Press, 1974.

Henderson, Mason G. Literature and ourselves: a thematic introduction for readers and writers. New York, NY: Longman, 2001.

Klingenberg, Patricia N. Fantasies of the feminine: the short stories of Silvina Ocampo. Oxford, UK: Bucknell University Press, 1999.

Marquez, Garcia G. Leaf storm and other stories. New York, NY: Perennial Classics, 2005.

McNees, Pat. Contemporary Latin American short stories. New Orleans, LA: Fawcett Columbine, 1996.

Ortega, Julio, and Carlos Fuentes. The Vintage book of Latin American stories. New York, NY: Knopf Doubleday Publishing Group, 2000.

Pelayo, Ruben. Gabriel García Márquez: a critical companion. Westport, CT: Greenwood Publishing Group, 2001.

Quiroga, Jose. Understanding Octavio Paz. Columbia, SC: Univ of South Carolina Press, 1999.

Rosenberg, Donna. World literature: an anthology of great short stories, drama, and poetry. Southfield, MI: Glencoe/McGraw-Hill, 1992.

Wilson, Jason. A companion to Pablo Neruda: evaluating Neruda’s poetry. Rochester, NY: Tamesis Books, 2008.

Zapata, Celia C. Short stories by Latin American women: the magic and the real. Houston, TX: Arte Publico Press, 1990.




[1] Garcia G. Marquez, Leaf storm and other stories (New York, NY: Perennial Classics, 2005).

[2] Robert DiYanni, Literature: Reading Fiction, Poetry, and Drama (Monterey, CA: McGraw-Hill, 2001).

[3] Mason G. Henderson, Literature and ourselves: a thematic introduction for readers and writers (New York, NY: Longman, 2001).

[4] Celia C. Zapata, Short stories by Latin American women: the magic and the real (Houston, TX: Arte Publico Press, 1990).

[5] Maria L. Bombal, New Islands: And Other Stories (New York, NY: Farrar, Straus and Giroux, 2003).

[6] Julio Ortega and Carlos Fuentes, The Vintage book of Latin American stories (New York, NY: Knopf Doubleday Publishing Group, 2000).


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