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Innocent Erendira & Other Storiesby Gabriel Garcia Marquez
Synopses & Reviews
The Incredible and Sad Tale of Innocent Ere ndira and Her Heartless Grandmotber
Ere ndira was bathing her grandmother when the wind of her misfortune began to blow. The enormous mansion of moonlike concrete lost in the solitude of the desert trembled down to its foundations with the first attack. But Ere ndira and her grandmother were used to the risks of the wild nature there, and in the bathroom decorated with a series of peacocks and childish mosaics of Roman baths they scarcely paid any attention to the caliber of the wind.
The grandmother, naked and huge in the marble tub, looked like a handsome white whale. The granddaughter had just turned fourteen and was languid, soft-boned, and too meek for her age. With a parsimony that had something like sacred rigor about it, she was bathing her grandmother with water in which purifying herbs and aromatic leaveshad been boiled, the latter clinging to the succulent back, the flowing metal-colored hair, and the powerful shoulders which were so mercilessly tattooed as to put sailors to shame.
Last night I dreamt I was expecting a letter, the grandmother said.
Ere ndira, who never spoke except when it was unavoidable, asked:
What day was it in the dream?
Then it was a letter with bad news, Ere ndira said, but it will never arrive.
When she had finished bathing her grandmother, she took her to her bedroom. The grandmother was so fat that she could only walk by leaning on her granddaughter's shoulder or on a staff that looked like a bishop's crosier, but even during her most difficult efforts the power of an antiquated grandeur was evident. In the bedroom, which had been furnished withan excessive and somewhat demented taste, like the whole house, Ere ndira needed two more hours to get her grandmother ready. She untangled her hair strand by strand, perfumed and combed it, put an equatorially flowered dress on her, put talcum powder on her face, bright red lipstick on her mouth, rouge on her checks, musk on her eyelids, and mother-of-pearl polish on her nails, and when she had her decked out like a larger than life-size doll, she led her to an artificial garden with suffocating flowers that were like the ones on the dress, seated her in a large chair that had the foundation and the pedigree of a throne, and left her listening to elusive records on a phonograph that had a speaker like a megaphone.
While the grandmother floated through the swamps of the past, Ere ndira busied herself sweeping the house, which was dark and motley, with bizarre furniture and statues of invented Caesars, chandeliers of teardrops and alabaster angels, a gilded piano, and numerous clocks of unthinkable. sizes and shapes. There was a cistern in the courtyard for the storage of water carried over many years from distant springs on the backs of Indians, and hitched to a ring on the cistern wall was a broken-down ostrich, the only feathered creature who could survive the torment of that accursed climate. The house was far away from everything, in the heart of the desert, next to a settlement with miserable and burning streets where the goats committed suicide from desolation when the wind of misfortune blew.
That incomprehensible refuge had been built by the grandmother's husband, a legendary smuggler whose name was Amadi s, by whom she had a son whose name was also Amadis and who was Ere ndira's father. No one knew either the origins or the motivations of that family. The best known version in the language of the Indians was that Amadi s the father had rescued his beautiful wife from a house of prostitution in the Antilles, where he had killed a man in a knife fight, and that he had transplanted her forever in the impunity of the desert. When the Amadi ses died, one of melancholy fevers and the other riddled with bullets in a fight over a woman, the grandmother buried their bodies in the courtyard, sent away the fourteen barefoot servant girls, and continued ruminating on her dreams of grandeur in the shadows of the furtive house, thanks to the sacrifices of the bastard granddaughter whom she had reared since birth.
Ere ndira needed six hours just to set and wind the clocks.
The day when her misfortune began she didn't have to do that because the clocks had enough winding left to last until the next morning, but on the other hand, she had to bathe and overdress her grandmother, scrub the floors, cook lunch, and polish the crystalware. Around eleven o'clock, when she was changing the water in the ostrich's bowl and watering the desert weeds around the twin graves of the Amadi ses, she had to fight off the anger of the wind, which had become unbearable, but she didn't have the slightest feeling that it was the wind of her misfortune. At twelve o'clock she was wiping the last champagne glasses when she caught the smell of broth and had to perform the miracle of running to the kitchen without leaving a disaster of Venetian glass in her wake.
She just managed to take the pot off the stove as it was beginning to boil over. Thenshe put on a stew she had already prepared and took advantage of a chance to sit down and rest on a stool in the kitchen. She closed her eyes, opened them again with an unfatigued expression, and began pouring the soup into the tureen. She was working as she slept.
The grandmother had sat down alone at the head of a banquet table with silver candlesticks set for twelve people. She shook her little bell and Ere ndira arrived almost immediately with the steaming tureen.
About the Author
Gabriel GarcÃa MÃ¡rquez was born in 1928 in the town of Aracatca, Colombia. Latin America's preeminent man of letters, he is considered by many to be one of the greatest writers of the twentieth century. He began his writing career as a journalist and is the author of numerous works of fiction and nonfiction, including One Hundred Years of Solitude and Love in the Time of Cholera. Gabriel MÃ¡rquez was awarded the Nobel Prize for Literature in 1982.
Table of Contents
The incredible and sad tale of Innocent Erâendira and her heartless grandmother — The sea of lost time --Death constant beyond love — The third resignation --The other side of death — Eva is inside her cat --Dialogue with the mirror — Bitterness for three sleepwalkers — Eyes of a blue dog — The woman who came at six o'clock — Someone has been disarranging these roses — The night of the curlews.
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