Gass, William. "More Deaths Than One: Chronicle of a Death Foretold." New York Magazine 16, no. 15 (11 April 1983): 83–84. Quoted as "More Deaths Than One: Chronicle of a Death Foretold" in Bloom, Harold, ed. Death and Dying, Bloom's Literary Themes. Chelsea House, 2009. Bloom's Literature, Facts On File, Inc, www.fofweb.com/activelink2.asp?ItemID=WE54&WID=103893&SID=5&iPin=BLTDD006&SingleRecord=True. Accessed 29 April 2017. In this article, Gass analyzes the meaning of death in the novel and comments on the diseased society as well. He views the book as a “rather gruesome catalogue of the many deaths—in dream, in allegory, and by actual count—that Santiago Nasar is compelled to suffer.” Gass claims that the narrator kills Santiago first,
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"CRITICAL READINGS: Superstition, Irony, Themes." Critical Insights: Gabriel García Márquez, Jan. 2010, pp. 233-247. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=lkh&AN=48267708&site=lrc-plus. Accessed 30 April 2017. In this article, Hart studies the themes of the novel and their importance in the death of Santiago Nasar. Superstition, one of the themes Hart focuses on, plays a crucial part in the novel, and Marquez relies heavily on superstition as well, seen in the stories he tells. In Chronicle of a Death Foretold, there are numerous instances of superstition seen through the characters and their actions. Many find superstition in people. The narrator’s telepathic mother and Santiago’s mother, who interprets dreams, show superstitious behavior. Others find superstition in actions. The Vicario’s house, is painted yellow in preparation for the wedding, which Marquez believes brings good luck. Also, Bayardo is identified with gold, a color that Marquez has a “pathological fear” of. Superstition appears in the omens that predict Santiago’s death and its brutality. Many townspeople point out how Santiago looks like a “ghost” or “dead man.” In addition, the cook feeds the guts of the rabbit to the dogs, foreshadowing his cruel autopsy. Also, the bishop likes to make soup out of cockerel’s crests and throw the rest of the rooster away. The author sees this as an “allusion to the autopsy and thereby to the destruction of Santiago's body.” The different signs which predict Santiago's death and the apprehensive characters and actions display the importance of superstition Marquez achieves in the
"CRITICAL READINGS: Superstition, Irony, Themes." Critical Insights: Gabriel García Márquez, Jan. 2010, pp. 233-247. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=lkh&AN=48267708&site=lrc-plus. Accessed 30 April 2017. In this article, Hart studies the themes of the novel and their importance in the death of Santiago Nasar. Superstition, one of the themes Hart focuses on, plays a crucial part in the novel, and Marquez relies heavily on superstition as well, seen in the stories he tells. In Chronicle of a Death Foretold, there are numerous instances of superstition seen through the characters and their actions. Many find superstition in people. The narrator’s telepathic mother and Santiago’s mother, who interprets dreams, show superstitious behavior. Others find superstition in actions. The Vicario’s house, is painted yellow in preparation for the wedding, which Marquez believes brings good luck. Also, Bayardo is identified with gold, a color that Marquez has a “pathological fear” of. Superstition appears in the omens that predict Santiago’s death and its brutality. Many townspeople point out how Santiago looks like a “ghost” or “dead man.” In addition, the cook feeds the guts of the rabbit to the dogs, foreshadowing his cruel autopsy. Also, the bishop likes to make soup out of cockerel’s crests and throw the rest of the rooster away. The author sees this as an “allusion to the autopsy and thereby to the destruction of Santiago's body.” The different signs which predict Santiago's death and the apprehensive characters and actions display the importance of superstition Marquez achieves in the