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Crash Course: English Literature, 100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (1)

100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (1)

Hi, I'm John Green. This is Crash Course Literature.

And this week we're continuing our discussion of Gabriel García Márquez's 100 Years of Solitude.

It isn't just the story of all those Buendias we talked about last time.

Today we're going to zoom out a little and look at how this novel can be read as a fictionalized history of Latin America's struggle to emerge from colonialism.

Mr. Green, Mr. Green! No no no no no, this is a made up book about, like, alchemy and raining flowers and stuff. There's no history!

OK, Me From The Past, I'm not going to get into a debate with you about what constitutes realness.

I'm just going to point out that there is a television show that has just debuted in your world in 1994.

It's called The Real World.

That show doesn't meet every definition of realness because, you know, the people participating in it are aware of the fact that there are cameras.

And yet the show The Real World in 1994 does have something to say about real life in 1994, albeit not as interesting as 100 Years of Solitude.

So yes, today we are talking about magic, but we're gonna get real.

[Theme Music]

So let's begin today with a quick look at the history that Gabriel García Márquez lived through and, in some ways, was writing about.

Gabriel García Márquez was born in 1922 in the small river town of Aracataca, located in the northern region of Colombia, near the Caribbean sea.

But decades before that, at the end of the 19th century,

several companies that would later combine into the United Fruit Company, which later became Chiquita, began to cultivate the region.

The American writer O. Henry coined the term Banana Republic in 1904 in a collection of short stories set in Honduras called Cabbages and Kings.

And since then the term has become shorthand for any unstable Latin American country whose economy is tied to exporting a single agricultural product.

Many historians consider Banana Republics to be examples of exploitative neocolonialism,

like when a developed county uses it financial and political power to manipulate a developing country's internal affairs.

And if that sounds a lot like regular colonialism, it is, but the difference is that in neocolonialism,

it's business entities that do the colonizing, and there's no annexation of territory to a colonizing nation.

So it worked like this: foreign investors arrived, often offering improvements to infrastructure,

like railroads, roads, and ports, in exchange for land, and the investors also offered employment opportunities for local people.

But in most cases, these were not good employment opportunities, and the companies usually had a tendency to underpay and mistreat their agricultural workers,

and when the workers complained, investors would often resort to violence to keep order.

Sometimes these foreign companies even funded military coups or established new governments.

And foreign companies used these tactics in García Márquez's home town of Aracataca.

The banana workers didn't have written contracts.

There were no restrictions on their work hours.

They were partially paid in scrip, which are vouchers to company-owned stores.

And when the workers went on strike in 1928, hundreds of men, women, and children gathered in the town square, thinking the governor would address these problems.

But instead the Colombian army, apparently at the behest of the United Fruit Company, set up machine guns on rooftops and blockaded streets leading away from the square.

And when the soldiers opened fire, hundreds were killed.

So in 100 Years of Solitude, García Márquez memorializes the Banana Strike Massacre by combining documentary realism with fiction.

As a genre, documentary realism attempts -- and I emphasize ATTEMPTS here --

to document the "truth" of events, whether they be large historical narratives or intimate portraits of individual lives.

Like, in 1926 the film critic John Grierson described documentary film as the "creative treatment of actuality" and that's a good way of thinking about it.

Our understanding of the past is always filtered through the lens of a witness or a writer or a photographer, et cetera.

It's never entirely objective.

The lenses through which "true stories" are told are usually privileged lenses.

For instance, stories are usually told by those who survived them, and also by those who have access to distributing the story, whether it's a printing press or a TV station.

But in 100 Years of Solitude, Gabriel García Márquez tries to tell the story of the colonization of Macondo through the lens of its inhabitants.

And these locals do little as the outskirts of their town are transformed

"into an encampment of wooden houses with zinc roofs inhabited by foreigners who arrived on the train from halfway around the world."

The language used to describe the foreigner's arrival is, at first, realistic, even journalistic.

Like, they build a "separate town across the railroad tracks with streets lined with palm trees, houses with screened windows,

small white tables on the terraces, and fans mounted on the ceilings, and extensive blue lawns with peacocks and quails."

And that closely resembles the actual documented events that occurred in García Márquez's hometown.

In other words, they're believable.

And yet unbelievable -- that is unbelievably horrible events also took place,

and as García Márquez evokes those events he replaces straightforward documentary with the language of mythology.

And the changes here can be subtle.

Like, the narrator describes the foreigners as being like gods.

"Endowed with means that had been reserved for divine providence in former times,

they changed the pattern of the rains, accelerated the cycle of harvests and moved the river from where it had always been."

And this invocation of mythology has some precedent.

Like, the anthropologist Claude Lévi-Strauss described mythology as providing imaginary solutions to real social contradictions.

In his 1955 essay, The Structural Study of Myth, he writes that,

"The kind of logic which is used in mythical thought is as rigorous as that of modern science,

and that the difference lies not in the quality of the intellectual process, but in the nature of the things to which it is applied."

So García Márquez uses magical realism to merge the logic of the visible world with myth in order to integrate multiple realities:

the perspective of the colonizers and those of the colonized.

And often the transition from documentary to fiction is marked with a moment of humor.

Like, "'Look at the mess we've got ourselves into,' Colonel Buendia says at that time, 'just because we invited a gringo to eat some bananas.'"

The levity of these moments makes 100 Years of Solitude a lovable, memorable, human, and also approachable novel,

but something very not funny is about to happen.

After Colonel Aureliano Buendia announces that he is,

"going to arm my boys so we can get rid of these shitty gringos,"

17 of his sons are summarily hunted down and executed.

And if you are more upset with the fact that I just said "shitty" than by the events of the novel, then there is something profoundly wrong with your world view.

17 of his sons are killed and the violence that follows is even more unbelievable.

After workers protest "the lack of sanitary facilities in their living quarters, the non-existence of medical services, and the terrible working conditions"

and complain that they are not being paid in real money but in scrip, lawyers hired by the gringos dismiss their claims.

The lawyers argue that the workers were not in the service of the banana company because they had been hired on a temporary and occasional basis.

These "sleight-of-hand lawyers" are sinister magicians who use logic to deny the humanity of the local workers

and they succeed in proving that these humans, as García Márquez writes, did not exist.

I mean, consider the implications here.

If you can use scientific reasoning and logic to prove that human beings don't exist,

then you need some kind of effective counter-logic to represent, you know, the truth.

And García Márquez demonstrates how this might work in his description of the massacre.

Like, once again, he begins by having the narrator present a logical series of events based on historical facts.

Let's go straight to the Thought Bubble.

After the workers strike, they are summoned to the plaza by the train station under the pretext that the provincial leader will make an important speech, and machine gun encampments are positioned on top of the station.

The narrator first notes the unreality of the event, describing it as a kind of hallucination, and then he evokes the language of comedy.

"The captain gave the order to fire and fourteen machine guns answered at once."

"But it all seemed like a farce."

This gets to how difficult it is to convey the magnitude of the tragedy and how language, in a way, kind of fails in the face of such tragedy.

Ultimately, it's language that the sleight-of-hand lawyers have used to prove that people are not people and here, language kind of falls apart in the face of human reality.

And then there's the unlikely detail that there are only two witnesses to this massacre.

One is a young boy whose "child's privileged position allowed him to see the machine guns opening fire."

It's worth noting that García Márquez was six in 1928, the year the Banana Strike Massacre took place in his hometown.

Years later, when that boy recounts what he observed, he's thought of as a crazy old man.

The other witness is José Arcadio.

Although his body is thrown into the pile of corpses, he is not dead.

He escapes, returns home, and spends six months isolated in a room.

Eventually, he emerges.

"There were more than three thousand of them," was all that José Arcadio Segundo said.

"I'm sure now that they were everybody who had been at the station."

He is also thought to be crazy.

The madness attributed to these witnesses doesn't result from them being dislocated from reality, but rather from the rest of us being dislocated from it.

The real madness in the novel is the violence, or pretending that it didn't take place, or using logic to prove that humans aren't humans.

Thanks, Thought Bubble.

But what are we meant to do with this knowledge of a massacre that took place nearly a century ago?

And furthermore, are we even meant to care about the characters in this novel?

It sure isn't easy.

There are so many of them, and they have the same names, and they have these unreal, supernatural qualities, and make terrible decisions.

I mean, given that the Buendia family enacts a catalog of sins and vices, including, but not limited to:

pride, greed, lust, envy, gluttony, wrath, sloth, jealousy, meanness, child abuse, pedophilia,

incest, suicide, murder, we might even find it pleasurable to observe their downfall.

It really is like a smarter, better version of MTV's The Real World.

But my point is that we feel distant from the historical events represented in the novel and distant from the characters who lived them,

but I still think that we have a lot to learn from the story.

Because I think, on some level, 100 Years of Solitude is a book about how to remember, and maybe even forget, ethically.

The story clearly associates too much remembering with a kind of living death.

Like, consider Rebecca, the child bride and eater of whitewash and damp earth who may or may not have shot her husband in the head.

After the funeral, Rebecca locked herself in her house and

"buried herself alive, covered herself with a thick crust of disdain that no earthly temptation was ever able to break."

And that's pretty much the last we hear of Rebecca.

She becomes fully-engrossed in the solitude of her memories.

The town forgets about her and she has no impact on her community's future.

But the novel also associates too much forgetting or amnesia with madness and futility.

Like, consider Colonel Buendia, the former warrior who loses his memory and devotes his golden years to making tiny golden fish.

100 Years of Solitude Part 2: Crash Course Literature 307 - YouTube (1) 100 años de soledad - Parte 2: Curso intensivo de literatura 307 - YouTube (1) 100 років самотності, частина 2: Експрес-курс Література 307 - YouTube (1)

Hi, I'm John Green. This is Crash Course Literature. مرحبًا أنا (جون غرين) وهذه قناة (Crash Course Literature). היי אני ג'ון גרין, זהו קורס מזורז בספרות, Olá, eu sou o John Green, este é o Crash Course Literatura,

And this week we're continuing our discussion of Gabriel García Márquez's 100 Years of Solitude. هذا الأسبوع سنكمل نقاشنا عن رواية (غابريل غارسيا ماركيز): (مئة عام من العزلة). והשבוע אנחנו ממשיכים בדיוננו על 100 שנים של בדידות של גבריאל גרסיה מארקס. e nesta semana continuaremos nossa discussão sobre Cem Anos de Solidão, de Gabriel García Márquez.

It isn't just the story of all those Buendias we talked about last time. إنها ليست فقط قصة كل أفراد عائلة (بوينديا) الذين تحدثنا عنهم المرة الفائتة، זה לא רק הסיפור של כל הבואנדיאסים האלה שדיברנו עליהם בפעם האחרונה, Não é apenas a história de todos aqueles Buendías de que falamos na última vez,

Today we're going to zoom out a little and look at how this novel can be read as a fictionalized history of Latin America's struggle to emerge from colonialism. اليوم سنصغر الصورة قليلًا ونلقي نظرة على الكيفية التي يُمكن أن تقرأ هذه الرواية بها كتاريخ مُختلط بالخيال عن معاناة أمريكا اللاتينية للانبثاق من الإستعمار. היום אנחנו הולכים להביט קצת יותר מרחוק, ולבדוק כיצד ניתן לקרוא רומן זה כהיסטוריה בדיונית של המאבק של אמריקה הלטינית לצוץ מתוך הקולוניאליזם. hoje vamos olhar um pouco para o contexto, como este romance pode ser lido como uma história ficcional da luta da América Latina para emergir do colonialismo.

Mr. Green, Mr. Green! No no no no no, this is a made up book about, like, alchemy and raining flowers and stuff. There's no history! "سيد (غرين)، سيد (غرين)! لا لا لا هذا كتاب مختلق عن الخيمياء وزهور المطر وغيرها. لا تاريخ هنا!" לא לא לא לא לא... ... זהו ספר מומצא על דברים כמו אלכימיה וגשם של פרחים וכאלה, אין פה היסטוריה! Não não não não não... Este é um livro fictício sobre, tipo, alquimia e flores chovendo e outras coisas,

OK, Me From The Past, I'm not going to get into a debate with you about what constitutes realness. حسنًا يا أنا من الماضي. لن أدخل معك في جدال حول تشكيل الحقيقة. אוקיי, אני מהעבר, אני לא אכנס איתך לדיון לגבי מה מהווה מציאות, Eu não vou começar a discutir com você, sobre o que constitui realismo,

I'm just going to point out that there is a television show that has just debuted in your world in 1994. سأشير فقط إلى وجود برنامج تلفزيوني ظهر لأول مرة في عالمك سنة 1994. אני פשוט הולך להצביע על כך שיש תוכנית טלוויזיה שעלתה לאחרונה בעולמכם, que há um programa de televisão que acaba de estrear em seu mundo,

It's called The Real World. يُسمى (العالم الحقيقي). בשנת 1994, שנקראת "העולם האמיתי". em 1994, e ele se chama The Real World.

That show doesn't meet every definition of realness because, you know, the people participating in it are aware of the fact that there are cameras. هذا البرنامج لا يواجه كل تعريف للوقائع؛ لأن -أنت تعلم- الأشخاص المشاركين فيه يعرفون حقيقة وجود كاميرات. התכנית לא עומדת בכל ההגדרות של אמיתיות, כי, אתם יודעים, האנשים שמשתתפים בה מודעים לעובדה שיש מצלמות. Esse show não corresponde a todas as definições de realidade, porque, sabe, as pessoas que participam nela estão cientes do fato

And yet the show The Real World in 1994 does have something to say about real life in 1994, albeit not as interesting as 100 Years of Solitude. وبالرغم من ذلك، كان في برنامج (العالم الحقيقي) سنة 1994 أشياء ليقولها عن الحياة الحقيقية في تلك السنة، ولو لم يكن بنفس متعة (مئة عام من العزلة). ובכל זאת, לתכנית "העולם האמיתי" בשנת 1994 יש משהו לומר על החיים האמיתיים בשנת 1994, אם כי לא מעניין כמו 100 שנים של בדידות. No entanto, o programa The Real World de 1994 realmente tem algo a dizer sobre a vida real em 1994, embora não tão interessante quanto Cem Anos de Solidão.

So yes, today we are talking about magic, but we're gonna get real. إذًا، نعم سنتحدث اليوم عن السحر ولكن بواقعية. אז כן, היום אנחנו מדברים על קסם, אבל אנחנו הולכים להיות אמיתיים. Então, sim, hoje falaremos sobre magia,

[Theme Music] [פתיח] קורס מזורז - ספרות

So let's begin today with a quick look at the history that Gabriel García Márquez lived through and, in some ways, was writing about. إذًا لنبدأ اليوم بأخذ لمحة سريعة عن التاريخ الذي كان يعيش فيه (غابريل غارسيا ماركيز) والذي بشكل ما كان يكتب عنه. אז בואו נתחיל היום עם מבט מהיר על ההיסטוריה שבה חי גבריאל גרסיה מארקס, ובמובנים מסוימים עליה היה כותב. Então, hoje começaremos com um olhar rápido sobre a história que Gabriel García Márquez viveu, e, de certa forma, estava escrevendo sobre.

Gabriel García Márquez was born in 1922 in the small river town of Aracataca, located in the northern region of Colombia, near the Caribbean sea. وُلد (غابريل غارسيا ماركيز) عام 1922 في قرية (أراكاتاكا) الصغيرة على النهر الواقعة في القطاع الجنوبي من كولومبيا بالقرب من البحر الكاريبي. גבריאל גרסיה מארקס נולד ב -1922 בעיירת הנהר הקטנה ארקטאקה, הממוקמת באזור הצפוני של קולומביה, ליד הים הקריבי. Gabriel García Márquez nasceu em 1922 na pequena cidade fluvial de Aracataca, localizada na região norte da Colômbia, perto do Mar do Caribe.

But decades before that, at the end of the 19th century, ولكن قبل ذلك بعقود في نهاية القرن التاسع عشر، אבל עשרות שנים לפני כן, בסוף המאה ה -19, Mas décadas antes disso, no final do século 19,

several companies that would later combine into the United Fruit Company, which later became Chiquita, began to cultivate the region. بدأت عدة شركات - تلك التي ستتحد لاحقًا في شركة الفاكهة المتحدة، التي أصبحت لاحقًا (تشيكيتا)- بالزراعة في تلك المنطقة. מספר חברות שמאוחר יותר יתאחדו ל"חברת הפירות המאוחדת", לימים צ'יקיטה, החלו לעבד את האזור. várias empresas (que mais tarde se juntariam para formar a United Fruit Company, que mais tarde tornou-se Chiquita), começaram a cultivar a região.

The American writer O. Henry coined the term Banana Republic in 1904 in a collection of short stories set in Honduras called Cabbages and Kings. صاغ الكاتب الأمريكي (أو.هنري) مصطلح جمهورية الموز سنة 1904 في مجموعته للقصص القصيرة التي تقع في هندوراس التي أسماها (الملفوف والملوك). הסופר האמריקאי או. הנרי טבע את המונח "רפובליקת בננות" בשנת 1904, באוסף של סיפורים קצרים הממוקמים בהונדורס בשם "כרובים ומלכים" O escritor americano O. Henry cunhou o termo "República das Bananas" em 1904, numa coleção de contos ambientados em Honduras chamada de Repolhos e Reis.

And since then the term has become shorthand for any unstable Latin American country whose economy is tied to exporting a single agricultural product. ومنذ ذلك الحين اختزل الاسم ليدل على أي دولة غير مستقرة ربط اقتصادها بتصدير منتج زراعي واحد في أمريكا اللاتينية. ומאז, המונח הפך לכינוי עבור כל מדינה לא יציבה באמריקה לטינית שכלכלתה קשורה ליצוא מוצר חקלאי יחיד. E, desde então, o termo tornou-se sinônimo a qualquer país latino-americano instável cuja economia está ligada à exportação de um único produto agrícola.

Many historians consider Banana Republics to be examples of exploitative neocolonialism, وعد العديد من المؤرخين جمهوريات الموز مثالًا على استغلال الاستعمار الجديد، היסטוריונים רבים רואים ברפובליקות בננות כדוגמאות לניאו-קולוניאליזם נצלני. Muitos historiadores consideram repúblicas das bananas exemplos de neocolonialismo de exploração.

like when a developed county uses it financial and political power to manipulate a developing country's internal affairs. كما لو أن دولة متطورة تستخدم قوتها المالية والسياسية للتلاعب بالشؤون الداخلية لدولة نامية. למשל, כאשר מדינה מפותחת משתמשת בכוח הפיננסי והפוליטי שלה לתמרן את ענייניה הפנימיים של מדינה מתפתחת. Tipo, quando um país desenvolvido usa seu poder financeiro e político para manipular assuntos internos de um país em desenvolvimento.

And if that sounds a lot like regular colonialism, it is, but the difference is that in neocolonialism, وحتى لو بدا هذا كالاستعمار المعتاد، فإنه كذلك ولكن الاختلاف أنه استعمار جديد،

it's business entities that do the colonizing, and there's no annexation of territory to a colonizing nation. حيث أن كيان الأعمال هو من يستعمر، ولا وجود لإقليم مُلحق بالكيان المستعمر. ואין סיפוח של שטחים לאומה מיישבת. e não há nenhuma anexação de território a uma nação colonizadora.

So it worked like this: foreign investors arrived, often offering improvements to infrastructure, إذًا هكذا يجري الأمر: يصل المستثمرون الأجانب، عادةً ما يعرضون تحسينات للبنية التحتية Então funcionava assim, investidores estrangeiros chegavam, muitas vezes oferecendo melhorias na infra-estrutura,

like railroads, roads, and ports, in exchange for land, and the investors also offered employment opportunities for local people. مثل: سكك الحديد، الطرق والموانئ مقابل الأرض، وعادةً ما يعرض المستثمرون أيضًا فرصًا وظيفية للمحلين. והמשקיעים גם פתחו הזדמנויות תעסוקה לאנשים מקומיים. como estradas de ferro, rodovias e portos, em troca de terras. E os investidores também ofereciam oportunidades de emprego para a população local.

But in most cases, these were not good employment opportunities, and the companies usually had a tendency to underpay and mistreat their agricultural workers, ولكنها في معظم الحالات ليست فرصًا وظيفية جيدة، وعادةً ما يكون للشركة نزعة إلى خفض الرواتب المدفوعة وإساءة معاملة موظفيها الزراعيين، אבל ברוב המקרים, אלה לא היו הזדמנויות תעסוקה טובות, ולחברות בדרך כלל הייתה נטייה לשלם שכר נמוך, ולהתעלל בפועלים החקלאיים שלהן. Mas na maioria dos casos não eram boas oportunidades de emprego, e as empresas geralmente tinham uma tendência para pagar subsalários, e maltratar seus trabalhadores agrícolas.

and when the workers complained, investors would often resort to violence to keep order. وعندما يشتكي الموظفون يلجأ المستثمرون عادةً إلى العنف للحفاظ على النظام. וכאשר העובדים התלוננו, המשקיעים לעתים קרובות נקטו באלימות על מנת לשמור על הסדר. E quando os trabalhadores se queixavam, os investidores muitas vezes recorriam à violência para manter a ordem.

Sometimes these foreign companies even funded military coups or established new governments. في بعض الأحيان تمول هذه الشركات حتى الإنقلابات العسكرية أو تؤسس حكومة جديدة. כמה פעמים חברות זרות אלה אפילו מימנו הפיכות צבאיות או הקימו ממשלות חדשות, Algumas vezes essas empresas estrangeiras até mesmo financiaram golpes militares, ou estabeleceram novos governos.

And foreign companies used these tactics in García Márquez's home town of Aracataca. وقد استخدمت الشركات الأجنبية هذه المنهجية في مسقط رأس (غابريل غارسيا ماركيز)، قرية (أراكاتاكا). וחברות זרות השתמשו בטקטיקות אלה בעיר הולדתו של גרסיה מרקס, ארקטאקה. E empresas estrangeiras usaram estas táticas na cidade natal de Gabriel García Márquez, Aracataca.

The banana workers didn't have written contracts. لم يملك عمال الموز عقود مكتوبة، לעובדי הבננה לא היו חוזים בכתב, לא היו הגבלות על שעות עבודתם, Os trabalhadores da banana não tinham contratos assinados,

There were no restrictions on their work hours. لم يكن هناك قيود على ساعات عملهم، não havia restrições sobre suas horas de trabalho,

They were partially paid in scrip, which are vouchers to company-owned stores. وكان يُدفع لهم جزئيًا بالسندات وهي قسائم للشركة التي تملك المتاجر. חלק ממשכורתם שולמה בתווי קנייה, שהם שוברים לחנויות שבבעלות החברה, foram parcialmente pagos em títulos, que eram como cupons para lojas de propriedade da empresa,

And when the workers went on strike in 1928, hundreds of men, women, and children gathered in the town square, thinking the governor would address these problems. وعندما أعلن العمال إضرابهم سنة 1928، اجتمع المئات من الرجال والنساء والأطفال في ساحة القرية متوقعين أن الحاكم سيتطرق لهذه المشاكل. וכאשר העובדים פתחו בשביתה ב -1928, מאות גברים, נשים וילדים התאספו בכיכר העיר, במחשבה שהמושל יטפל בבעיות אלה. e quando os trabalhadores entraram em greve em 1928, centenas de homens, mulheres e crianças reuniram-se na praça da cidade, pensando que o governador abordaria estes problemas.

But instead the Colombian army, apparently at the behest of the United Fruit Company, set up machine guns on rooftops and blockaded streets leading away from the square. ولكن وبدلًا من ذلك حشد الجيش الكولمبي كما يبدو عند (شركة بيهيست المتحدة للفواكه) البنادق الآلية على الأسطح وحاصر الطرقات المؤدية إلى الساحة. אבל במקום זה, הצבא הקולומביאני, כנראה בפקודת חברת הפירות המאוחדת, הציב מקלעים על הגגות וחסם רחובות היוצאים מהכיכר. Ao invés disso o exército colombiano, aparentemente a mando da United Fruit Company, colocou metralhadoras sobre telhados e bloqueou ruas de via de saída da praça.

And when the soldiers opened fire, hundreds were killed. وعندما أطلق الجنود النار قُتل المئات. וכאשר החיילים פתחו באש, מאות נהרגו. E quando os soldados abriram fogo, centenas foram mortos.

So in 100 Years of Solitude, García Márquez memorializes the Banana Strike Massacre by combining documentary realism with fiction. لذا في الرواية أحيا (غابريل) ذكرى مجزرة إضراب الموز بالجمع بين الواقعية الوثائقية والخيال. אז ב-100 שנים של בדידות, גרסיה מארקס מנציח את טבח הבננות בקולומביה על ידי שילוב של תיעוד מציאותי, עם בדיה. Assim, em Cem Anos de Solidão, Gabriel García Márquez registra o Massacre da Greve das Bananas através da combinação de realismo documental,

As a genre, documentary realism attempts -- and I emphasize ATTEMPTS here -- وكنوع أدبي تحاول الواقعية الوثائقية -وأشدد هنا على كلمة تحاول- בתור סוגה, תיעוד מציאותי מנסה ואני מדגיש, מנסה Como um gênero, o realismo documentário tenta, e, sublinho, TENTA,

to document the "truth" of events, whether they be large historical narratives or intimate portraits of individual lives. توثيق "حقيقة" الأحداث سواء كانت بسرد تاريخي طويل أو بجسيدات غير حية لحيوات الأفراد. לתעד את "האמת" באירועים, בין אם הם סיפורים היסטוריים גדולים או דיוקנאות פרטיים של חיי אנשים. documentar a "verdade" de eventos, sejam eles grandes narrativas históricas, ou retratos íntimos de vidas individuais.

Like, in 1926 the film critic John Grierson described documentary film as the "creative treatment of actuality" and that's a good way of thinking about it. ومثال ذلك: في سنة 1926 وصف ناقد الأفلام (جون جريسون) الفلم الوثائقي ب "المعالجة الإبداعية للواقع" وهذه طريقة جيدة لوصفه. למשל, בשנת 1926, מבקר הקולנוע, ג'ון גרירסון תיאר סרט תיעודי בתור, "טיפול יצירתי במציאות". וזה דרך טובה לחשוב על זה. Como o crítico de cinema John Grierson descreve, em 1926, o documentário como o "tratamento criativo da realidade". E isso é uma boa maneira de pensar sobre isso.

Our understanding of the past is always filtered through the lens of a witness or a writer or a photographer, et cetera. ففهمنا للماضي دائمًا ما ينقى من خلال عدسة الشاهد أو الكاتب أو المصور وغيرهم، הבנתנו של העבר תמיד מסוננת דרך העדשה של עד, סופר או צלם, וכו'. A nossa compreensão do passado é sempre filtrada através da lente de uma testemunha, ou um escritor, ou um fotógrafo etcetera.

It's never entirely objective. ولن يكون أبدًا موضوعيًا بالكامل. זה אף פעם לא אובייקטיבי לגמרי. E nunca é inteiramente objetiva.

The lenses through which "true stories" are told are usually privileged lenses. والعدسات التي تُستخدم في "القصص الحقيقية" المحكية عادةً ما تكون عدسات مميزة. העדשות שדרכן, "סיפורים אמיתיים" מסופרים, הם בדרך כלל עדשות בעלות זכויות As lentes através das quais, entre aspas, "histórias verdadeiras" são ditas, são lentes geralmente privilegiadas.

For instance, stories are usually told by those who survived them, and also by those who have access to distributing the story, whether it's a printing press or a TV station. فعلى سبيل المثال: عادةً ما يروي الأشخاص الذين نجوا القصة، ويرويها أيضًا أولئك الذين يملكون إمكانية الوصول للقصة وتوزيعها سواء كان لمطبعة أو لمحطة تلفزيونية. לדוגמה, סיפורים מסופרים בדרך כלל מפי אלו ששרדו אותם, וגם על ידי אלה שיש להם גישה להפצת הסיפור, בין אם זה בית דפוס או תחנת טלוויזיה. Por exemplo, histórias são geralmente contadas por aqueles que sobreviveram, e também por aqueles que têm acesso à distribuição da história, quer se trate de uma prensa ou uma estação de TV.

But in 100 Years of Solitude, Gabriel García Márquez tries to tell the story of the colonization of Macondo through the lens of its inhabitants. ولكن في (مئة عام من العزلة) روى (غابريل غارسيا ماركيز) قصة استعمار (ماكوندو) من عدسة سكانها. אבל ב-100 שנים של בדידות, גבריאל גרסיה מארקס מנסה לספר את הסיפור של הקולוניזציה של מקאנדו דרך העדשה של תושביה. Mas em Cem Anos de Solidão, Gabriel García Márquez tenta contar a história da colonização de Macondo através da lente de seus habitantes.

And these locals do little as the outskirts of their town are transformed وهؤلاء المحليون يقومون بالقليل عندما تتحول ضواحي أطراف قريتهم ומקומיים אלה לא עושים הרבה כאשר פאתי העיר שלהם הופכת e estes cidadãos fazem pouco, enquanto os arredores de sua cidade são transformados

"into an encampment of wooden houses with zinc roofs inhabited by foreigners who arrived on the train from halfway around the world." " إلى معسكر من البيوت الخشبية بأسطح من الزنك يقطنها أجانب وصلوا بالقطار بعد أن قطعوا نصف الطريق حول العالم". ל"מחנה של בתי עץ עם גגות אבץ מיושבים על ידי זרים שהגיעו ברכבת מהקצה השני של העולם" "Num acampamento de casas de madeira com telhados de zinco, habitadas por estrangeiros que chegaram de trem do outro lado do mundo".

The language used to describe the foreigner's arrival is, at first, realistic, even journalistic. وكانت اللغة التي استخدمت لوصف وصول الأجانب واقعية في بادىء الأمر بل وحتى صحفية. השפה המשמשת לתיאור הגעת הזרים היא בהתחלה מציאותית, אפילו עיתונאית. A linguagem usada para descrever a chegada dos estrangeiros é primeiramente realista, até mesmo jornalística.

Like, they build a "separate town across the railroad tracks with streets lined with palm trees, houses with screened windows, مثل أنهم بنوا: " قرية منفصلة بالقرب من مسارات سكة القطار مصفوفة بالنخل، ومنازل مستورة بالنوافذ، Como eles construíram uma "Cidade à parte, do outro lado da linha férrea com ruas ladeadas por palmeiras, casas com janelas teladas,

small white tables on the terraces, and fans mounted on the ceilings, and extensive blue lawns with peacocks and quails." وبطاولات صغيرة بيضاء مصفوفة على الشرفات، ومراوح مثبتة بالسقوف، ومروج زرقاء ممتعدة ممتلئة بالطواويسُ وطيور السمان". "...ומדשאות כחולות נרחבות עם טווסים ושלווים." mesinhas brancas nos terraços, e os ventiladores montados no teto, e gramados azuis extensos, com pavões e codornas".

And that closely resembles the actual documented events that occurred in García Márquez's hometown. وذلك يشابه بشدة الأحداث الحقيقية الموثقة التي حدثت في قرية (غارسيا ماركيز). וזה דומה לאירועים שתועדו בפועל שהתרחשו בעיר הולדתו של גרסיה מארקס. E que se assemelha de perto os acontecimentos reais documentados que ocorreram na cidade natal de Gabriel García Márquez.

In other words, they're believable. بمعنى آخر أنها أحداث معقولة. במילים אחרות, הם אמינים. Em outras palavras,

And yet unbelievable -- that is unbelievably horrible events also took place, ومع ذلك فهي أيضًا غير معقوله، فمن غير المعقول وقوع هذه الأحداث المرعبة! ובכל זאת לא אמינים, כלומר, אירועים נוראים שלא ייאמנו גם התקיימו, ou, pelo menos, eventos inacreditavelmente horríveis também tomaram lugar lá,

and as García Márquez evokes those events he replaces straightforward documentary with the language of mythology. وبينما يستحضر (غارسيا ماركيز )هذه الأحداث يبدل الوثائقية المباشرة بلغة الميثولوجيا. וכפי שגרסיה מארקס מעורר אירועים אלה, הוא מחליף תיעוד פשוט, בשפה של מיתולוגיה. e, como García Márquez evoca esses eventos, ele substitui o documentário puro e simples com a linguagem da mitologia.

And the changes here can be subtle. ويمكن أن تكون هذه التغيرات متقنة. והשינויים כאן יכולים להיות עדינים, למשל, המספר מתאר את הזרים כדמויי אלים E as mudanças aqui podem ser sutis,

Like, the narrator describes the foreigners as being like gods. فمثلًا: يصف الراوي الأجانب كما لو أنهم يشبهون الآلهة. tipo como o narrador descreve os estrangeiros como sendo deuses,

"Endowed with means that had been reserved for divine providence in former times, "موهوبون بالوسائل التي حُفظت للعناية الإلهية في أوقات سابقة، "Dotados de meios que haviam sido reservados para a providência divina em épocas anteriores,

they changed the pattern of the rains, accelerated the cycle of harvests and moved the river from where it had always been." فقد غيروا أنماط المطر، استعجلوا دورة الحصاد، وحركوا النهر من مكانه الذي بقي فيه دومًا". eles mudaram o padrão das chuvas, aceleraram o ciclo das colheitas, e mudaram o rio de onde ele tinha sido desde sempre".

And this invocation of mythology has some precedent. وابتهال الميثولوجيا لها سوابق. E esta invocação da mitologia tem algum precedente,

Like, the anthropologist Claude Lévi-Strauss described mythology as providing imaginary solutions to real social contradictions. فمثل ما وصف الأثنروبلوجي (كلود ليفي ستروس) بأنها تقدم حلول متخيلة لمساهمات اجتماعية حقيقية. o antropólogo Claude Lévi-Strauss descreveu a mitologia como o fornecimento de soluções imaginárias às contradições sociais reais.

In his 1955 essay, The Structural Study of Myth, he writes that, وقد كتب في مقاله المنشور سنة 1955 بعنوان (لدراسة البنيوية لأسطورة): Em artigo de 1955, o estudo estrutural do mito,

"The kind of logic which is used in mythical thought is as rigorous as that of modern science, "هذا النوع من المنطق الذي يُستخدم في الأفكار الأسطورية متزمتة بنفس تزمت العلم الحديث، "O tipo de lógica que é usado no pensamento mítico é tão rigoroso quanto o da ciência moderna,

and that the difference lies not in the quality of the intellectual process, but in the nature of the things to which it is applied." ولا يكمن الإختلاف في قيمة العملية الثقافية، ولكن في طبيعة الأشياء التي تطبق". e que a diferença não reside na qualidade do processo intelectual, mas na natureza das coisas ao qual ele é aplicado."

So García Márquez uses magical realism to merge the logic of the visible world with myth in order to integrate multiple realities: إذًا يستخدم (غارسيا ماركيز) الواقعية الخيالية لدمج منطق العالم المرئي بالأسطورة لتوحيد الحقائق المتعددة: על מנת לשלב מציאויות מרובות. García Márquez utiliza o realismo mágico para mesclar a lógica do mundo visível com o mito, a fim de integrar múltiplas realidades.

the perspective of the colonizers and those of the colonized. منظور المستعمر والمُستعمرون، נקודות המבט של הקולוניאליסטים, ואלו של הנכבש. As perspectivas dos colonizadores, e as dos colonizados.

And often the transition from documentary to fiction is marked with a moment of humor. وعادةً ما يكون الإنتقال من الوثائقية إلى الخيال مُعلم بلحظة من الدعابة ולעתים קרובות, המעבר מתיעודי לבדיוני מסומן עם רגע של הומור, E, muitas vezes, a transição do que é documentário para o que é ficção é marcada com um momento de humor,

Like, "'Look at the mess we've got ourselves into,' Colonel Buendia says at that time, 'just because we invited a gringo to eat some bananas.'" مثل قول الكولونيل (بوينديا) في تلك اللحظة: " انظر إلى الفوضى التي أقحمنا فيها أنفسنا، فقط لأننا دعونا (غرينغو) لأكل بعض الموز". למשל: " 'תראה לאיזה בלאגן הכנסנו את עצמנו' אמר אז קולונל בואנדיה, 'רק בגלל שהזמנו גרינגו לאכול בננות.' " como: " 'Olhe para a bagunça em que nos metemos,' coronel Buendía diz naquela hora, "Só porque convidamos um gringo para comer umas bananas.' "

The levity of these moments makes 100 Years of Solitude a lovable, memorable, human, and also approachable novel, إن خفة هذه اللحظات تجعل (مئة عام من العزلة) رواية محبوبة، بارزة، إنسانية، وأيضًا قابلة للوصول، הקלילות ברגעים אלו עושה את 100 שנים של בדידות לרומן חביב, בלתי נשכח, אנושי, וגם נגיש. A leveza desses momentos faz de Cem Anos de Solidão um romance amável, memorável, humano e também acessível.

but something very not funny is about to happen. ولكن شيئًا غير مضحك سيحدث. אבל משהו מאוד לא מצחיק עומד לקרות. Mas algo não muito engraçado está prestes a acontecer.

After Colonel Aureliano Buendia announces that he is, فبعد أن أعلن الكولونيل (أركاديو بونديا) بـ לאחר שקולונל אאורליאנו בואנדיה מכריז שהוא Depois do Coronel Aureliano Buendía anunciar que ele vai,

"going to arm my boys so we can get rid of these shitty gringos," "أنا ذاهب إلى تسليح أولادي لنستطيع التخلص من هؤلاء الغرينغوين القذرين" "הולך לחמש הבנים שלי כדי שנוכל להיפטר מהגרינגואים המחורבנים האלה." eu cito, "armar meus meninos para podemos nos livrar desses gringos de merda".

17 of his sons are summarily hunted down and executed. طورد 17 شخصًا من أبنائه وأعدموا بسرعة. 17 מבניו נלכדים במהרה ומוצאים להורג. 17 de seus filhos são sumariamente caçados

And if you are more upset with the fact that I just said "shitty" than by the events of the novel, then there is something profoundly wrong with your world view. و إذا كنت منزعج من حقيقة أنني قلت لتوي "القذرون" أكثر من أحداث الرواية فهناك خطأ عميق في نظرتك للعالم ואם אתם יותר כועסים על העובדה כי כרגע אמרתי "מחורבנים", מאשר על האירועים של הרומן, אז, יש משהו בסיסי שלא בסדר עם השקפת העולם שלכם. E se você está mais chateado com o fato de que eu acabei de dizer "merda" do que pelos acontecimentos do livro, então há algo de profundamente errado com a sua visão de mundo.

17 of his sons are killed and the violence that follows is even more unbelievable. فقد قُتل من أبنائه 17 شخصًا وأحداث العنف التي تبعت ذلك كانت غير معقولة. 17 מבניו נהרגים, והאלימות שבאה אחרי זה עוד יותר בלתי יאומנת. 17 de seus filhos são mortos, e a violência que se segue é ainda mais inacreditável.

After workers protest "the lack of sanitary facilities in their living quarters, the non-existence of medical services, and the terrible working conditions" بعد ما اعترض العمال على " نقص التسهيلات الطبية في أماكن إقامتهم، عدم وجود الخدمات الطبية، وظروف العمل الفظيعة". אחרי שעובדים מוחים על "חוסר במתקני תברואה באזור המגורים שלהם, מחסור בשירותים רפואיים, ועל תנאי העבודה הנוראים, Depois de trabalhadores protestarem pela "falta de instalações sanitárias nos seus dormitórios, a inexistência de serviços médicos, e as terríveis condições de trabalho,

and complain that they are not being paid in real money but in scrip, lawyers hired by the gringos dismiss their claims. وشكوتهم من كونهم لا يتلقون رواتبهم بالأموال بل بالسندات، والمحامون الذين وضعهم الغرينغوون رفضوا قبول ادعائتهم. ומתלוננים כי הם לא מקבלים כסף אמיתי, אלא תווי קנייה עורכי דין שנשכרו על ידי הגרינגואים דחו את טענותיהם. e se queixam de que eles não estão sendo pagos em dinheiro de verdade, mas em títulos." advogados contratados pelos gringos rejeitam suas reivindicações.

The lawyers argue that the workers were not in the service of the banana company because they had been hired on a temporary and occasional basis. حيث جادل المحامون بأن العمال لم يكونوا في خدمة شركة الموز لأنهم وظفوا على أساس موسمي مؤقت. עורכי הדין טענו כי העובדים לא היו בשירות של חברת הבננה, כי נשכרו הם על בסיס זמני. Os advogados argumentaram que os trabalhadores não prestavam serviço à companhia bananeira porque haviam sido contratados de forma temporária e ocasional.

These "sleight-of-hand lawyers" are sinister magicians who use logic to deny the humanity of the local workers هؤلاء "المحامون أصحاب الحيل" ما هم إلا سحرة أشرار استخدموا المنطق لإنكار انسانية العمال المحليين עורכי דין "להטוטנים" אלה הם קוסמים אפלים אשר משתמשים בהיגיון כדי להכחיש את האנושיות של העובדים המקומיים. Estes advogados de "prestidigitação" são magos sinistros que usam da lógica para negar a humanidade dos trabalhadores locais.

and they succeed in proving that these humans, as García Márquez writes, did not exist. ونجحوا في إثبات أن هؤلاء البشر، كما كتب (غارسيا ماركيز)، لم يوجدوا. והם מצליחים להוכיח כי בני האדם האלה,כמו שגרסיה מארקס כתב "לא היו קיימים." E eles têm sucesso em provar que estes seres humanos, como García Márquez escreve:

I mean, consider the implications here. أعني فكروا بالنتائج هنا. כלומר, חישבו על ההשלכות כאן, אם אתם יכולים להשתמש בחשיבה מדעית ובהיגיון כדי להוכיח כי בני אדם לא קיימים , Quero dizer, considerando as implicações aqui,

If you can use scientific reasoning and logic to prove that human beings don't exist, إذا استخدمت التفكير العلمي والمنطقي لإثبات عدم وجود البشر، se você pode usar o raciocínio científico e a lógica para provar que seres humanos não existem,

then you need some kind of effective counter-logic to represent, you know, the truth. فأنت تحتاج إلى نوعٍ من الجدلية المضادة الفعالة لتعرض -أنت تعلم - الحقيقية. אז אתם צריכים איזשהו היגיון-נגדי יעיל כדי לייצג, אתם יודעים, את האמת. em seguida você precisa de algum tipo de contra-argumento eficaz para representar, você sabe, a verdade.

And García Márquez demonstrates how this might work in his description of the massacre. وأثبت (غارسيا ماركيز) كيف يمكن أن ينجح هذا في وصفه للمجزرة. וגרסיה מארקס מדגים איך זה יכול לעבוד, בתארו את הטבח. E García Márquez demonstra como isso poderia funcionar, em sua descrição do massacre.

Like, once again, he begins by having the narrator present a logical series of events based on historical facts. حيث أنه مرة أخرى بدأ بعرض الراوي لسلسلة من الأحداث المنطقية المبنية على حقائق تاريخية. שוב, הוא מתחיל בכך שהמספר מתאר סדרה הגיונית של אירועים, המבוססים על עובדות היסטוריות. Como, mais uma vez, ele começa por ter o narrador apresentando uma série lógica de eventos, baseados em fatos históricos.

Let's go straight to the Thought Bubble. فلنذهب مباشرةً إلى فقاعة الأفكار. בואו נלך ישר לבועת המחשבה. Vamos direto ao Balão de Pensamento.

After the workers strike, they are summoned to the plaza by the train station under the pretext that the provincial leader will make an important speech, and machine gun encampments are positioned on top of the station. بعد إضراب العمال اجتمعوا في البلازا بالقرب من محطة القطار بدعوى أن القائد القروي سيُلقي خطابًا مهمًا بينما كانت مدافع المعسكرات الرشاشة متأهبة على سطح المحطة. לאחר שהעובדים שובתים, הם זומנו לרחבה ליד תחנת הרכבת, בתואנה כי מנהיג המחוז ישא נאום חשוב, ועמדות של מכונות ירייה מוצבות על גג התחנה Após a greve dos trabalhadores, eles são convocados para a praça, perto da estação de trem, sob o pretexto de que o líder provincial fará um discurso importante, e atiradores com metralhadoras estão posicionados no topo da estação.

The narrator first notes the unreality of the event, describing it as a kind of hallucination, and then he evokes the language of comedy. فقد أشار الراوي في البداية إلى عدم مصداقية الأحداث بوصفها كما لو أنها نوع من الهلوسة ومن ثم أقحم لغة الكوميديا. ראשית, המספר מציין את חוסר המציאותיות של האירוע, מתאר אותו כסוג של הזיה. ואז הוא מעורר לשון של קומדיה. O narrador primeiro observa a irrealidade do evento, descrevendo-o como uma espécie de alucinação. E então ele evoca a linguagem da comédia.

"The captain gave the order to fire and fourteen machine guns answered at once." "أعطى الكابتن أمره للمدافع لتطق وأجاب 14 مدفعًا مرةً واحدة". "הקפטן נתן את ההוראה לירות וארבעה עשרה מקלעים ענו מייד. אבל הכל נראה כמו פארסה." "O capitão deu a ordem para disparar e catorze metralhadoras responderam ao mesmo tempo.

"But it all seemed like a farce." لكن الأمر بدا كما لو أنه مسرحية هزلية" Mas tudo parecia ser uma farsa."

This gets to how difficult it is to convey the magnitude of the tragedy and how language, in a way, kind of fails in the face of such tragedy. هذا يقود إلى مدى صعوبة نقل جسامة المأساة وكيف أن اللغة - في أحد حالاتها- تفشل في مواجهة هذا النوع من المآسي. ואיך השפה, באיזשהו אופן, נכשלת לנוכח טרגדיה כזאת. Isto demonstra como é difícil transmitir a magnitude da tragédia. E como a linguagem, de certa forma, meio que falha em face de tal tragédia.

Ultimately, it's language that the sleight-of-hand lawyers have used to prove that people are not people and here, language kind of falls apart in the face of human reality. أخيرًا فإن اللغة هي ما استخدمه المحامون أصحاب الحيل لإثبات أن البشر لم يكونوا بشرًا وهنا تنهار اللغة نوعًا ما في وجه واقع البشر. בסופו של דבר, זוהי שפה שבה עורכי הדין הלהטוטנים השתמשו כדי להוכיח שאנשים אינם אנשים וכאן השפה במידה מסוימת מתמוטטת לנוכח המציאות האנושית. Em última análise, é a linguagem o que os advogados enganadores usaram para provar que as pessoas não são pessoas e aqui a linguagem meio que desmorona em face da realidade humana.

And then there's the unlikely detail that there are only two witnesses to this massacre. وهناك أيضًا ذلك التفصيل بعيد الاحتمال وهو عدم وجود سوى شاهدين لهذه المجزرة. ואז יש את הפרט הבלתי סביר כי יש רק שני עדים לטבח זה. E depois há o detalhe improvável de que há apenas duas testemunhas deste massacre.

One is a young boy whose "child's privileged position allowed him to see the machine guns opening fire." أحدهما هو طفل صغير الذي "سمح له امتياز موقعه كطفل أن يرى المدافع وهي تطلق النار". אחד מהם הוא נער צעיר: "עמדתו של הילד הקנתה לו את הזכות לראות את המקלעים פותחים באש" Um deles é um garoto cuja "Posição privilegiada de criança lhe permitiu ver as metralhadoras abrindo fogo. "

It's worth noting that García Márquez was six in 1928, the year the Banana Strike Massacre took place in his hometown. من الجدير بالذكر أن (غارسيا ماركيز) كان في سن السادسة سنة 1928 عندما وقعت مجزرة إضراب الموز في قريته. זה ראוי לציין כי גרסיה מארקס היה בן שש בשנת 1928, השנה שטבח שביתת הבננות התקיים בעיר הולדתו. É interessante notar que García Márquez tinha seis anos em 1928, o ano em que o massacre da greve das banana ocorreu em sua cidade natal.

Years later, when that boy recounts what he observed, he's thought of as a crazy old man. ولاحقًا عندما تذكر الفتى ما رآه نُعت بأنه رجل عجوز مجنون. שנים לאחר מכן, כאשר הילד הזה מגולל את מה שבו חזה, הוא נחשב זקן משוגע. Anos mais tarde, quando aquele rapaz relata o que ele viu, todos acham que ele é um velho louco.

The other witness is José Arcadio. أما الرجل الآخر فكان (خوسيه أركاديو). העד השני הוא חוזה ארקאדיו, A outra testemunha é José Arcadio,

Although his body is thrown into the pile of corpses, he is not dead. فعلى الرغم من أن جسده أُلقي بين أكوام الجثث إلا أنه لم يمت. למרות שגופו נזרק לתוך ערימת הגוויות, הוא לא מת. embora seu corpo seja jogado na pilha de cadáveres, ele não está morto.

He escapes, returns home, and spends six months isolated in a room. فقد هرب وعاد إلى منزله وقضى ستة أشهر في غرفته منعزلًا. הוא בורח, חוזר הביתה, ומבלה חצי שנה בבידוד בחדרו. Ele escapa, volta para casa, e passa seis meses isolado num quarto.

Eventually, he emerges. في نهاية الأمر خرج. בסופו של דבר הוא מופיע: Eventualmente, ele emerge.

"There were more than three thousand of them," was all that José Arcadio Segundo said. وكان الشيء الوحيد الذي تلفظ به هو: "كان هناك اكثر من ثلاثة آلاف منهم". "היו יותר משלושת אלפים מהם." זה כל מה שחוזה ארקאדיו סגונדו אמר "Havia mais de três mil deles." Foi tudo o que José Arcadio Segundo disse,

"I'm sure now that they were everybody who had been at the station." أنا متأكد الآن أن جميع من كانوا في المحطة كانوا هناك". "אני בטוח עכשיו שהם כל מי שהיה בתחנה. " "Tenho certeza agora que eles eram todo mundo que havia ido à estação. "

He is also thought to be crazy. نُعت أيضًا بأنه مجنون. גם הוא נחשב מטורף. Também acham que ele está louco.

The madness attributed to these witnesses doesn't result from them being dislocated from reality, but rather from the rest of us being dislocated from it. إن اتهام هؤلاء الشهود بالجنون لم ينتج بسبب كونهم انفصلوا عن الواقع بل من كوننا نحن منفصلين عنها. הטירוף שיוחס לעדים אלה, אינו נובע מכך שהם מנותקים מהמציאות, אלא מכך שכולנו מנותקים מהמציאות. A loucura atribuída a essas testemunhas não resulta deles estarem deslocados da realidade, mas sim do resto de nós estar deslocado.

The real madness in the novel is the violence, or pretending that it didn't take place, or using logic to prove that humans aren't humans. إن الجنون الحقيقي في الرواية هو العنف، أو التظاهر بأن هذا لم يحدث، أو استخدام المنطق لإثبات أن البشر ليسوا بشرًا. הטירוף האמיתי ברומן הוא האלימות, או להעמיד פנים שהיא לא התרחשה או באמצעות ההיגיון להוכיח שבני אדם אינם בני אדם. A verdadeira loucura no romance é a violência, ou fingir que ela não aconteceu, ou usar a lógica para provar que seres humanos não são seres humanos.

Thanks, Thought Bubble. شكرًا فقاعة الأفكار. תודה, בועת מחשבה. Obrigado, Balão de Pensamento.

But what are we meant to do with this knowledge of a massacre that took place nearly a century ago? ولكن ماذا يُفترض بنا أن نفعل بمعرفتنا بوقوع هذه المجزرة من حوالي قرن مضى؟ אבל מה אנחנו אמורים לעשות עם הידע הזה על טבח שהתרחש לפני כמעט מאה שנה? Mas o que estamos deveríamos fazer com o conhecimento de um massacre que aconteceu há quase um século?

And furthermore, are we even meant to care about the characters in this novel? بل وهل يفترض بنا حتى أن نكترث ونهتم بشخصيات الرواية؟ ובנוסף לכך, האם גם אנחנו אמורים להיקשר אל הדמויות ברומן הזה? Além disso, por acaso nós deveríamos nos importar com os personagens deste romance?

It sure isn't easy. من المؤكد أن الأمر غير سهل. זה בטח לא קל. יש כל כך הרבה מהם, Com certeza não é fácil,

There are so many of them, and they have the same names, and they have these unreal, supernatural qualities, and make terrible decisions. هناك العديد منهم وهم يحملون نفس الأسماء وهم يملكون قدرات غير طبيعية وغير حقيقية لإتخاذ قرارات مروعة. ויש להם אותם שמות, ויש להם את כל התכונות העל טבעיות הלא מציאותיות הללו. והם מקבלים החלטות איומות e eles têm os mesmos nomes, e eles têm essas qualidades sobrenaturais irreais, e tomam decisões terríveis.

I mean, given that the Buendia family enacts a catalog of sins and vices, including, but not limited to: أعني مع معرفة أن عائلة (بوينديا) قد سنّت قائمةً من الخطايا التي تتضمن ما يلي -وليس على سبيل الحصر-: אני מתכוון, בהתחשב בעובדה משפחת בואנדיה מיישמת קטלוג של חטאים ומידות רעות, הכוללות אך לא מוגבל ל: Quer dizer, uma vez que a família Buendía encena um catálogo de pecados e vícios, incluindo mas não limitados a

pride, greed, lust, envy, gluttony, wrath, sloth, jealousy, meanness, child abuse, pedophilia, الكبر، الجشع، الشهوانية، الحسد، النهم، السخط، الكسل، الغيرة، اللؤم، استغلال الأطفال، اشتهاء الأطفال، גאווה, חמדנות, תאווה, קנאה, גרגרנות, זעם, עצלות, קנאה, רשעות, התעללות בילדים, פדופיליה, orgulho, avareza, luxúria, inveja, gula, ira, preguiça, inveja, mesquinhez, abuso infantil, pedofilia,

incest, suicide, murder, we might even find it pleasurable to observe their downfall. سفاح المحارم، الإنتحار، القتل وربما حتى سنجد الأمر ممتعًا أن نراقب سقوطهم. גילוי עריות, התאבדות, רצח. נוכל אפילו לגלות את העונג לצפות נפילתם. incesto, suicídio, assassinato. Podemos até achar agradável observar sua queda.

It really is like a smarter, better version of MTV's The Real World. يبدو الأمر حقًا كنسخة أفضل وأذكى من برنامج قناة (إم تي في) العالم الحقيقي. זה באמת כמו גרסה חכמה וטובה יותר של "העולם האמיתי" של MTV É realmente como uma versão melhor e mais inteligente de The Real World da MTV.

But my point is that we feel distant from the historical events represented in the novel and distant from the characters who lived them, ولكن وجهة نظري هي أننا نشعر بالبعد عن الأحداث التاريخية المعروضة في الرواية ومن الشخصيات التي عاشتها، Mas meu ponto principal é que nós nos sentimos distantes dos eventos históricos representados no livro, e distantes dos personagens que eles viveram-os.

but I still think that we have a lot to learn from the story. ولكني ما زلت أعتقد أننا نملك الكثير لنتعلمه من القصة. Mas eu ainda acho que temos muito a aprender com a história.

Because I think, on some level, 100 Years of Solitude is a book about how to remember, and maybe even forget, ethically. لأنني أعتقد أن الرواية في أحد مستوياتها هي كتاب عن كيفية التذكر وربما حتى النسيان بشكل أخلاقي. כי אני חושב, שברמה מסוימת, 100 שנים של בדידות הוא ספר על איך לזכור ואולי אפילו לשכוח באופן אתי. Porque eu acho que, em algum nível, Cem Anos de Solidão é um livro sobre como se lembrar e talvez e até mesmo como se esquecer eticamente.

The story clearly associates too much remembering with a kind of living death. فالقصة بشكل واضح تجمع بين التذكر بشدة ونوع من الموت على قيد الحياة. סיפור בבירור מקשר זיכרון-יתר עם במעין מוות חי A história claramente associa demais o lembrar com uma espécie de morte em vida.

Like, consider Rebecca, the child bride and eater of whitewash and damp earth who may or may not have shot her husband in the head. فمثلًا فكر بـ(ريبيكا) الطفلة العروس وآكلة الدهان ومخلفات الأرض التي ربما أطلقت النار على رأس زوجها وربما لم تُطلق. קחו למשל את רבקה, הכלה הקטינה שאוכלת סיד ואדמה לחה אשר ייתכן וירתה לבעלה בראש Consideremos Rebecca, a noiva-criança e comedora de espuma de sabão e terra úmida que pode ou não pode ter atirado no seu marido na cabeça.

After the funeral, Rebecca locked herself in her house and فـ(ريبيكا) بعد الجنازة حبست نفسها في منزلها לאחר ההלוויה, רבקה נעלה את עצמה בביתה Depois do funeral, Rebecca trancou-se em sua casa,

"buried herself alive, covered herself with a thick crust of disdain that no earthly temptation was ever able to break." ودفنت نفسها حية مغطية نفسها بـ "قشرة سميكة من الإزدراء لا يمكن لأي إغواء أرضي أبدًا أن يكسرها". ו"קברה עצמה בחיים, מכוסה במעטה עבה של בוז ששום פיתוי ארצי היה אי פעם מסוגל לשבור." e "enterrou-se viva, coberta por uma crosta de desdém que nenhuma tentação terrena jamais foi capaz de quebrar."

And that's pretty much the last we hear of Rebecca. وهذه هي تقريبًا آخر مرة نقرا فيها شيئًا عن (ريبكيا)، וזה פחות או יותר את האחרונה אנו שומעים על רבקה, E isso é a última coisa que ouvimos falar de Rebecca,

She becomes fully-engrossed in the solitude of her memories. فقد أصبحت مستغرقة تمامًا في عزلة ذكرياتها. היא הופכת לחלוטין שקועה בבדידות זכרונותיה ela fica totalmente absorvida na solidão de suas memórias

The town forgets about her and she has no impact on her community's future. ونستها القرية ولم يكن لها أي تأثير على مستقبل مجتمعها. העיר שוכחת אותה, ואין לה אף השפעה על העתיד של הקהילה שלה. e a cidade se esquece dela, e ela não tem impacto sobre o futuro da sua comunidade.

But the novel also associates too much forgetting or amnesia with madness and futility. ولكن الرواية أيضًا جمعت بين كثرة النسيان أو فقدان الذاكرة والجنون أو الإخفاق. אבל הרומן גם מקשר יותר מדי שכחה או אמנזיה עם טירוף וחוסר תועלת. Mas o romance também associa muito o esquecimento ou amnésia com loucura e futilidade.

Like, consider Colonel Buendia, the former warrior who loses his memory and devotes his golden years to making tiny golden fish. فكر مثلًا بالكولونيل (بوينديا) المحارب السابق الذي فقد ذاكرته وكرس سنوات عمره الذهبية لصنع سمكات ذهبية صغيرة. קחו למשל את קולונל בואנדיה, הלוחם לשעבר שמאבד את זכרונו ומקדיש את שנות הזהב שלו ליצירת דגיגי זהב Consideremos o Coronel Buendía, o antigo guerreiro que perde suas memórias e dedica seus anos dourados a fazer pequenos peixes dourados.