If you’re looking to re-experience the enchantment of One Hundred Years of Solitude by Gabriel Garcia Marquez (GGM), then read that book again. You won’t find it in Love in the Time of Cholera, a novel about two lovers in a love triangle in an unnamed Columbian port city. In brief soap opera form, Florentino Ariza falls for Fermina Daza, who marries another man.
Warning: Spoilers follow.
Still, the book has other redeeming qualities, including GGM’s ability to relate wrenching tragedy and cruelty with dispassionate steadiness (79):
“He [Florentino Ariza] had awakened at dawn that morning, as a condemned man awakens at dawn on the day of execution, and that entire day he had done nothing but imagine, minute by minute, each of the events at Fermina Daza’s wedding. Later when he returned home he realized that he had made a mistake in the time and that everything had been different than from what he had imagined, and he even had the good sense to laugh at his fantasy” (146).
Tragedy and cruelty aside, this book is an extended meditation on love. Actually, don’t put tragedy and cruelty aside; in this book they might as well be synonymous with love. The highlights:
1. Can lovers detect fellow lovers? “Her cousin Hildebranda Sanchez, two years older than she and with the same imperial haughtiness, was the only who understood her condition as soon as she saw her, because she, too, was being consumed in the fiery coals of reckless love” (85).
2. GGM writes that Fermina Daza “had not realized that every step she took from her house to school, every spot in the city, every moment of her recent past, did not seem to exist except by the grace of Florentino Ariza” (133). In a way, Florentino Ariza feels it also. Years later, at the sight of Fermina Daza and her husband, he “did not feel either jealousy or rage – only great contempt for himself. He felt poor, ugly, inferior, and unworthy not only of her but of any other women on the face of the planet” (153).
I’ve rarely felt so consumed by love. But lovers do report seeing each other everywhere or evaluating every decision in terms of how the other might feel. Indeed, once when my two roommates started dating, I saw it more up-close than I wanted. But that is not, I imagine (yes, I can only imagine), how many others experience love. I see it expressed in tribulations and heartache. (Also be aware that an all-consuming love can at times make for a boring book.)
3. People change.
I know, not so profound, but GGM’s writing can still make me gasp:
“She turned her head and saw, a hand’s breadth from her eyes, those other glacial eyes, that livid face, those lips petrified with fear, just as she had seen them in the crowd at Midnight Mass the first time he was so close to her, but now, instead of the commotion of love, she felt the abyss of disenchantment. In an instant the magnitude of her mistake was revealed to her, and she asked herself, appalled, how she could have nurtured such a chimera in her heart for so long and with so much ferocity. … ‘No please,’ she said to him. ‘Forget it’” (102).
4. Casual sex between passing “lovers” isn’t love, but it’s not insignificant either. In fact, it might be better than love. Florentino Ariza’s many affairs were “always without pretensions of loving or being loved, although always in the hope of finding something that resembled love, but without the problems of love” (151). Best of all, GGM suggests that it's supposed to be
fun:
“He persuaded her to let themselves be observed while they made love, to replace the conventional missionary position with the bicycle on the sea, or the chicken on the grill, or the drawn-and-quartered angel, and they almost broke their necks when the cords snapped as they were trying to devise something new in a hammock. … He had taught her that nothing one does in bed is immoral if it helps to perpetuate love” (151).
5. The pain of being denied. Even the smooth debauchee Florentino Ariza would court women “with caution, for he felt that nothing was more embarrassing or more demeaning than a refusal” (152). Why do I feel similarly? Is it a scar of having been rejected oneself? Is it really an embarrassment to admit liking someone who doesn’t reciprocate? In another episode on a similar theme, Florentino Ariza seems to feel as I do: “Ever since his rejection by Fermina Daza, Florentino Ariza had learned always to keep the final decision for himself” (201).
6. I like that GGM speaks not only of love but also of compatibility, especially between Fermina Daza and her husband Dr. Juvenal Urbino: “He was aware that he did not love her. He had married her because he liked her haughtiness, her seriousness, her strength, and also because of some vanity on his part… They did not speak of it that first night, when they spoke of everything until dawn, nor would they ever speak of it. But in the long run, neither of them had made a mistake” (159). Yet Fermina Daza doesn’t forget the “poor man” Florentino she left behind, and so “she was always pleased by the good news she heard about him, because that helped to alleviate her guilt” (223). For the (few) women I have left behind, I feel similarly.
A final comment: Despite these insights, I did not especially enjoy this book. Why? Florentino Ariza waits “fifty-three years, seven months, and eleven days and nights” (348) for love. GGM glorifies such struggle, such suffering, as if this masochistic pursuit were a noble enterprise. But I see the suffering of love just for what it is: Miserable. And that’s all I have to say about this book. In fact, if I use the word ‘love’ one more time today, I think I’m going to throw up.