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Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." It may not be quite up there with It was the best of times, it was the worst of times... but certainly, it has got to be one of the greatest sentences to begin a novel in all of noveling. Only 96 pages in and the phrase "as he faced the firing squad" has been used at least five times, so it will interesting to see where that goes. (No spoilers please.)
p. 223, ch 12
“Dazzled by so many and such marvelous inventions, the people of Macondo did not know where their amazement began...They became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for the character who had died and was buried in one film and for whose misfortune tears of affliction had been shed would reappear alive and transformed into an Arab in the next one. The audience, who paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many felt that they had been the victims of some new and showy gypsy business and they decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings.”
“They be. came indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for the character who had died and was buried in one film and for whose misfortune tears of affliction had been shed would reappear alive and transformed into an Arab in the next one. The audience, who paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many felt that they had been the victims of some new and showy gypsy business and they decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings.”