Sobre el autor y la obra
-
Eugenio
Cambaceres
o
Vida:
1843-1888; Argentina
o
Had some interest in politics, was a politician
in his younger years
o
Died
relatively young of tuberculosis
-
This work was considered his masterpiece
-
This novel is the third in a set of four
-
Famous line, reflecting pessimism of novel:
“vivir es querer y querer es sufrir: luego la vida es por esencia dolor” (is this from the text or some other book?)
Contexto político/social
-
Argentina won independence from Spain in early
19th century (between 1816 and 1818)
-
However, after gaining independence, it took
them a while to get their stuff together
-
There was a federalist dictator (Juan Manuel de
Rosas) in power from roughly 1835 until 1852
-
Lots of trade with Europe, reliance on foreign
powers for good of Argentinean economy
-
Federalist style government again in 1880’s
(General Roca)
-
Argentina is not in a great situation during
this time period – economic deterioration, political corruption,
industrialization is ruining the ranch thing, lots of foreign immigration that
overpopulates capital and raises crime rate
Comps
-
There’s no example comps question listed for
this one.
-
I would think:
o
The role of the novel as social
commentary/criticism
o
How the novel serves as example of naturalism
and/or realism
Summary, according to wikipedia
El libro narra la historia de Andrés, un
joven acostumbrado a vivir a su manera y sin ningún escrúpulo. Un día, cansado
del aburrimiento de su hacienda, decide ir a la casucha del puestero y comienza
un romance clandestino con la hija del mismo, Donata, a quien deja embarazada.
Una vez que lo hace, la abandona y se marcha a la ciudad.
En la ciudad visita frecuentemente el Teatro
Colón, en donde conoce a una cantante de ópera llamada Marietta
Amorini, la prima donna de Aída. Amorini cede
inmediatamente a las insinuaciones de Andrés pero, después de quince días de
haber comenzado su apasionado romance, éste se aburre y decide volver a su
hacienda en el campo.
Cuando regresa, ve que la campesina había
muerto pero su hija (Andrea) continúa viva, por lo que asume que es hija suya y
se hace cargo de ella. De esta forma Andrés comienza a cambiar su modo de vida
en beneficio de su pequeña hija.
Pese a su felicidad, un día Andrea
enferma de difteria y, muy debilitada, fallece. Andrés, destruido por
la tragedia que lo había marcado a él y a su hija, se suicida, dando final a la
historia.
Esta novela es una de las tantas que se
presentaron en la corriente literaria "Naturalismo"
Notes from article (“Arte Narrativo in Sin
Rumbo”)
-
Structure:
o
Chap. 1-13: Takes place in el campo en la estancia del
protagonist
o
Ch.
14-26: Buenos Aires
o
27-32
Back in countryside. Part II also takes place in countryside.
-
There is a
symmetrical/parallel structure- e.g. opening/closing scene of book-not just a
costumbrista scene, but also foreshadowing of tragical final scene (sheep were
panting, in pain)
-
Action, violence, and tension mark el paso de Sin Rumbo.
MOVEMENT.
-
ánimo nervioso y mudable del protagonista.
-
Theatre motif
(some of the narration sounds like acotaciones)
-
no omniscient
narrator, really, who directs himself to the reader to explain the
action.
-
the characters " poseen esta característica de
obedecer a un comportamiento inmutable."
-
Cordnudo as
the most absurd theatrical character.
What Cambridge Latin America says
(Chap. 1, pg. 36-37)
-
Naturalism combined with realism
-
The protagonist, Andrés, is a jerk who’s
impassive, jaded, and bored
-
There’s a
summary – pg. 37
-
Severe contrast in protagonist Andrés’s behavior
in the two parts of book (in first part, highlights his negative qualities; in
second part, highlights his more positive qualities)
-
Several violent passages
What Franco says (Chapter 4, pg. 116-118)
-
“the best of the Argentinean novelists”
-
“rails at the avariciousness of the trading
classes”
-
We as humans are “slaves of our instincts” –
this smells of naturalism (determinism)
-
Brief summary of Sin Rumbo – pg. 117
-
Cambaceres’ belief that “lack of moral or
spiritual purpose in man’s life reduces him to a biological machine which
propagates and evacuates without the intervention of human will. His only
freedom is that of self-destruction”
Notes from the introduction (edición de Claude Cymerman)
-
Strong contrast between the developed, more
modern and rich capital city of Buenos Aires, and the poorer, undeveloped rural
areas (implication of civilization vs. barbarie)
-
“La generación del 80”
o
Writers were all lawyers, politicians,
journalists, diplomats, or military men – all intellects, but still politically
involved
o
“La
obra de los escritores del 80 lleva estampada la nostalgia de un pasado
glorioso del que se siente heredera”
o
All these writers are aristocrats, part of the
elite class
o
They accept the European influence – they’re
into positivism, liberalism, and republicanism
o
These writers are dilettantes (amateurs,
dabbling in writing for amusement, b/c they think it’s appropriate for their
class) – idea of “dilettantes” writing for other “dilettantes” – implication that there’s not a lot of
quality writing then
§
OMG, I’m
so channeling Jovellanos… these dudes are BORED, and they don’t have any ilustrados
forcing them to go to the theatre to entertain themselves, so they write
instead…
-
Naturalism
o
European/French influence
o
Some characteristics:
§
Evolutionary theories, determinism, idea of
hereditary traits
§
Physiology is superior to feelings/emotions
§
Influence of race and environment on actions
§
Fascination with experimentation
§
Positivism
§
Interest in science
§
Faith in man and in human progress
o
Affiliation of naturalism with the optimism of
Latin America towards end of 19th century (essentially: “Things suck
now, but things can get better! Right?”)
o
Pessimism – relates to determinism; idea that
man isn’t in control of his own fate
-
Higher foreign/immigrant population in the 1880’s
– increased crime rate, racism
-
Strongly pessimistic tone of the text
-
City-country contrast
o
In some ways, civilización vs. barbarie
(especially in Cambaceres’ novels leading up to this one)
o
However in this novel more of idea of city as
perverse and corrupted, with country contrasting as a regenerating refuge
Personajes
-
Andrés – protagonist, a young landowner/gaucho
-
Donata – Andrés’s lover at the hacienda; she
dies early on
-
Marietta Amorini – opera singer, Andrés’s lover
in the city
-
Andrea – Andrés’s daughter with Donata
Temas/ideas importantes
-
Estilo de escritura
o
No omniscient narrator, really, who would direct
himself to reader to explain the action… more of third person limited narrator,
focused on Andrés’s perspective
o
Symmetrical/parallel structure – beginning of
book mirrors the end
§
Sheep suffering in beginning, Andrea and Andrés
suffering at end
o
Use of regionalist language, slang, dialect – language
reflects setting
-
Influence of naturalism
o
Focus on grotesque details of reality
o
Lots of mentions of science
o
Idea that it’s impossible to change
(determinism)
o
Pessimism
o
Idea of following instincts (kind of goes with
evolutionist theory)
-
Influence of realism
o
Contrast between rural and urban settings
(ranch/country vs. city)
o
Transition from rural area to urban area (Andrés
goes from ranch to city/Buenos Aires)
o
Idea of portrayal of life as it really is
o
Use of colloquial and popular language (regionalism)
-
Social commentary/criticism
o
The protagonist represents Argentina and its
future – has no direction, [self]-destructive ending
o
Idea of the idleness/ociosidad of the upper
class
§
Ex: Andrés was lazy in school; studied law and
medicine but dropped out of both programs
§
Andrés’s life in the city – just gambling and
going to opera, having sex
o
Andrés says church/religion and school are a
useless waste of time (Cap. VII)
-
City (Buenos Aires) vs. country (rural ranch
lands)
o
Civilización vs. barbarie
§
Example: Donata dies because nobody ever thinks
to send for a doctor; she dies “like a dog”
§
City is more “sophisticated”
o
City is kind of like a waste land – all Andrés
does is waste money gambling and have sex with Amorini; he rapidly gets bored
and apathetic there
-
Gender
o
Andrés’s rape of Donata – she doesn’t exactly
defend herself or resist. Thoughts on the abuses that are suffered by women;
yet text doesn’t exactly offer any solution – kind of like, yeah it happens,
nothing to do about it!
o
Andrés objectifies Donata – doesn’t love her or
care about her; sex with her is just a way to pass the time. (Discusses this in
Cap. VIII)
o
Objectification of women in general – examples:
Donata and Amorini
o
Idea of the natural inferiority of women and the
suffering that they inevitably face (discusses this specifically in Cap. XXXIV)
-
Violence
o
Careless sheep shearing (Cap. I)
o
Rape of Donata (Cap. IV)
o
Goes hunting not to eat animals, just to hurt
something (Cap. V)
o
Castration of bulls (Cap. XI)
o
The surgery performed on Andrea (Cap. XLIV)
o
Andrés’s horrible suicide at the end
-
Characterization of the “gaucho” (maybe?)
o
Andrés’s rough personality, always angry;
expects his orders to be obeyed
-
Characterization of Andrés
o
Womanizer
o
Irresponsible and ignorant landowner
o
Serves as an example of the elite failing to
exercise leadership – Andrés should be leading his ranch to a progressive
future, but he sucks at running a ranch
o
Pessimistic and apathetic; very negative outlook
on life
o
Significant change in the second part of the
book – loves his daughter and cares for her obsessively
o
Ultimately very unstable emotionally – revealed fully
in ending action of suicide
Apuntes del texto
Primera Parte
I.
The men are shearing sheep, but they’re not
being careful and are doing a really crappy job, so they’re cutting the sheep
and hurting them badly; lots of blood (violence).
A couple of the men get into a fight (barbarians,
violence) and the patron breaks it up.
II.
Description of setting/nature (I think the master house of the hacienda):
there’s a Louis XIII style pavilion (1600’s French); a belt of yellow clouds,
burning November sun, calm/tranquil afternoon. Presentation of Andrés – on a
hammock; attractive blue yes, gray beard despite his young age (subtly dramatic introduction of protagonist).
III.
Andrés reflects on his past, so we as readers
learn about his youth. His mother spoiled him (this ruined him – naturalism/determinism?); he was always given
spending money by his parents/family. University as “una época feliz.” Studied
law, then medicine, but dropped out of both programs (ociosidad de la clase alta!). Immense boredom with life. Reads
Schopenhauer (a philosopher who described life as suffering; pessimism, naturalism). “Si la vida
es tanto más feliz cuanto menos se la siente, lo mejor sería verse uno libre de
ella” (early premonition of suicide?)
IV.
Andrés crosses the hacienda to go to ranch hand
/ tenant farmer’s house (where the country girl Donata lives). Vaguely
theatrical description of scenery/nature around him (“to the left…,” “to the
right…,” “en frente”). Andrés finds Donata semi-undressed after a siesta; his
manly instincts start to take over (naturalism)
and he throws himself at her (violence).
“… fuera de sí, sin poder dominarse
ya, en el brutal arrebato de la bestia que está en él, corrió y se arrojó sobre
Donata.” He rapes her, but she doesn’t resist as much as she could have,
because her instincts kick in too. After, he doesn’t understand her feelings at
all… “Why are you crying, ingrata?”
V.
Andrés’s “negro pesimismo.” He’s in a bad mood,
pissed at the world and lost in thought about “la corriente destructora de su
siglo” and the pointlessness of love. Rapid change from laying about to wanting
to go out – “un furor de movimiento” (movement,
instability of character). Goes
hunting, kills animals not to eat, just for desire of hurting something (violence). Andrés’s cat – the only
animal/being that he actually likes; a dog is chasing the cat, which goes up a
tree – idea that this is God’s natural order of things; yet Andrés
interrupts/disturbs it by shooting the dog. The cat scratches him in return,
haha.
VI.
There was a party in town. A rich guy (a cow
thief) donates money to buy some fancier decorations for the church altar. Idea
that he can make up for his crimes/sins with money. (Critique of church, misuse of money).
VII.
At the town party. They have a church service.
After, the justice of the peace gives a speech: “Thanks to this rich dude for
the donation of the altar. But that’s enough – all of you should contribute to
the development of this place. We need a school – our kids aren’t being
educated. ‘La inercia nos mata, nos consume.’” (Desire for progress). Andrés responds with his own little speech:
“Stop wasting time with church and school. God isn’t anybody, and science is a
cancer for the soul. Saber es sufrir, ignorar, comer, dormir y no
pensar, la solucion exacta del problema, la única dicha de vivir.” (Naturalism:
Happiness in following instinctual needs)
VIII. Andrés
has continued a relationship with Donata. Has sex with her whenever he finds
her alone; she just kind of accepts it. Her father is an old typical pampa
farmer, of the type that starts to disappear when faced with civilization (civilización vs. barbarie). Donata is
kind of stupid and didn’t grow up with any women around since her mother died;
she doesn’t know anything about love other than what nature teaches her – she thinks Andrés loves her because he
keeps coming back (naturalism – follows
instincts). For Andrés, she just a thing – objectification of women.
IX.
Andrés has the antojo to spend a night with
Donata, so he sends her father out on some task for him. Andrés asks if he
thinks there will be any problem leaving Donata alone with some peoncito, and
her father says no, “I taught her how to have some honor.” He has no idea she’s
already sleeping with Andrés.
X.
Andrés goes to find Donata alone in her house
that night. He has sex with her, but then can’t sleep – puts out the candles
she had lit for her father (for Virgin’s protection), finds the sheets rough
(he has finer ones b/c he’s rich). He eventually gets frustrated and leaves.
XI.
A group of the peones drinking and talking as
the night starts to become morning. (Somewhat costumbrista). Un
peon: “los hombres pobres necesitamos de
los ricos.” Work for the day: castrating bulls. (Violence, force, pain). One bull
escapes and nearly hurts Andrés; Andrés is pissed at one dude in particular.
XII.
It’s May and it’s starting to get colder and
days are shorter; winter is coming (winter
is June-August in Argentina). Andrés is going to go to the city; Donata is
sad he’s leaving. Andrés is annoyed:
“A mí no me gustan las mujeres lloronas.” Donata reveals she’s pregnant
and Andrés suddenly softens, and says he’ll come back within a month and will
take care of her.
XIII. Andrés
doesn’t want to get married and settle down (“mirando el matrimonio con
horror”) so he heads to the city (Buenos Aires) to live up the single life, going
to clubs and the theatre and gambling. Idea of life as a farce.
XIV. Andrés
goes to the theatre/opera, where he receives special treatment (for his higher social class and status) – he is allowed to enter while
the singers are rehearsing and others aren’t. There’s a new (and beautiful)
opera singer – Amorini, the prima donna… she’s married, but Andrés wants her.
Andrés chats with Amorini’s husband, who seems like an ignorant little twit.
XV.
Andrés goes to a club to gamble and loses quite
a bit of money.
XVI. Theatre
again, night of the opera’s debut. Amorini is nervous, but the audience loves
her.
XVII. There’s
a dinner after the opera; Andrés and Amorini are both there. Some other chick
is jealous of the attention Andrés pays Amorini. Andrés is only interested in
Amorini due to an instinctual, carnal
desire (naturalism). “apenas movido por un débil interés
carnal, ésa y la otra y todas eran lo mismo.” (objectification of women). Amorini wants to get with Andrés; she’s
jealous and wants him to herself – they’re going to start an affair even though
she’s married.
XVIII. There’s an
abandoned somewhat ruined house in the city, where Andrés has flings. Amorini
starts to second-guess: “What are you going to think of me after?” He gives her
a traitorous kiss and things get going; she starts to defend herself and make
excuses but then gets into it. (Passion).
XIX. Amorini
is falling in love with Andrés (as is natural for a woman); Andrés however, has gotten bored of her after two weeks.
Andrés feels very apathetic about everything. (“¿por qué andar, por qué vivir?”)…
Andrés thinks of suicide (foreshadowing). Amorini wants to have
sex at the theatre, and Andrés says no until she calls him a coward.
XX.
It’s a dismal day (weather) – maybe a bit romantic; weather reflects
Andrés’s mood? Andrés meets Amorini in the theatre and they start to have
sex… but then they hear her husband’s voice; he’s looking for her. Andrés tells
Amorini to hide, and handles business, telling her husband that Amorini’s not
there and to stop poking his nose where it doesn’t belong (haha wow). THEN, the
incredibly stupid Amorini pokes her head out and her husband (Gorrini) sees her
and gets super pissed. Andrés says, “let’s go outside,” to not have a scandal
in the theatre, but then the husband never comes out.
XXI. Andrés
goes to talk to some friends about what’s going on; he’s thinking about
challenging Amorini’s husband, Gorrini. His friends say he’s only being so
angry/irrational because he’s hungry (it’s
like a Snickers commercial!).
XXII.
One of Andrés’s friends goes to talk to Gorrini
(Amorini’s husband). Says there’s nothing going on between Andrés and Amorini,
it just looked that way. I don’t know if
Gorrini believed it, and still thinks his reputation is ruined, or what… Gorrini thinks about Amorini: “lo había
traidoramente escarnecido, deshonrado, a él, un noble, un conde, un hijo de
ilustre raza, a él que todo lo abandonara, porvenir, familia, patria, que todo
sacrificara por ella… y tanto que la había querido… ¡infame, infame, infame!”
XXIII. Solari
(owner of theatre) thinks that the reputation of his theatre is in shambles
after this whole thing. Solari tells Andrés to stop this nonsense with Amorini;
Andrés laughs at him. Gorrini has left Buenos Aires to go wait for his wife in
Río Janeiro (shame!).
XXIV. Andrés and
Amorini are now rather openly lovers. Andrés is so bored of Amorini that he
starts to hate her. Amorini starts to sing badly in the theatre and has become
ugly in Andrés’s eyes. Andrés imagines killing her and then killing himself (foreshadowing).
XXV. Andrés
looks for excuses to be away from Amorini. He becomes a shut-in and is
lethargic and depressed. Contrast
between lethargic stillness and sudden movement – reflects instability of Andrés’s character. He drinks and gambles.
His life is “sin plan ni rumbo.” He’s somewhat nostalgic for the Pampa and the
ranch, but remembers Donata being pregnant and is reluctant to go home to a
kid. Conflict of thoughts – he’s proud to have a child (naturalism, yay for continuing the blood line), but doesn’t want
responsibility or an annoying woman. Starts to worry about money – he’s close
to financial ruin if not careful.
XXVI. Andrés
leaves Amorini a brief letter saying goodbye, in which he recommends she get
back together with her husband Gorrini and leaves her some money. He’s thinking
of his child (with Donata, back at the ranch) – he wants to meet him.
XXVII.
Andrés heads back towards the ranch. The way is
a little bit difficult due to all the rain recently; Andrés is annoyed.
XXVIII. Andrés
dreams about his son – dreams that he is big and powerful, but then becomes a
monster. There is a crowd and Andrés defends his monster-son from the people.
XXIX. Continued
journey towards the ranch. Andrés thinks of his child and actually cries a few
tears… wow! They’re going to have to swim to get across the river.
XXX. They’re
crossing the river and it’s rough going. The men and animals are almost
drowning. “La inteligencia, el
instinto por un lado; por el otro la fuerza inconsciente y ciega de la
naturaleza desquiciada.” (Naturalism
– sense that nature is indifferent to human struggle). Andrés nearly
drowns, but makes it across – he’s the only one to do so, so he heads to the
ranch on foot, alone.
XXXI. Andrés
finally arrives home at the ranch. He asks for news – is curious if Donata has
had his child, but doesn’t want to ask directly. As an afterthought, his
servant mentions that Donata’s father is going to stop working for them,
because he’s been screwed financially because Donata “got into some mischief”
and just had a baby, but died in childbirth. The servant wonders out loud who
the father of the orphaned girl is, and Andrés angrily reveals that he is.
XXXII.
Servant woman gives Andrés his daughter for the
first time; he feels sad and confused. Contrast of feelings: curiosity vs.
repugnance. He wants to treat his daughter well, and “rodearla de todo el
bienestar de que él gozaba.” Andrés is super worried about taking perfect care
of his daughter – thinks he should maybe bring in a nurse from Buenos Aires. The
old-lady-servant-woman-nurse tells Andrés about how Donata got sick after
childbirth and died; Andrés doesn’t understand why they didn’t call for a
doctor instead of leaving her to “die like a dog.” (They’re uncivilized). Andrés thinks about taking his daughter to
live in Buenos Aires.
Segunda parte (starts
two years later)
XXXIII. Two
years have passed and it’s a beautiful spring day. There is no longer sadness
in Andrés’s eyes; he’s changed. He is playing with his daughter and listens to
her tell a story about her doll. (Cambaceres
writes in childlike language, imitates childish speech for daughter’s voice).
Andrés adores his daughter, Andrea; she’s changed his perspective on life. He
spoils his daughter like crazy… he’s afraid to lose her, so only wants to give
her happiness.
XXXIV. Andrés worries about his daughter’s future
as a woman: “Pensaba en la triste condición de la mujer, marcada al nacer por
el dedo de la fatalidad, débil de espíritu y de cuerpo, inferior al hombre en
la escala de los seres, dominada por él, relegada por la esencia misma de su
naturaleza al segundo plan de la existencia” (gender roles, inferiority of women). Andrés starts to return
to his old pessimism. Idea that he can’t do anything to change his daughter’s
fate – it’s all up to the natural way of things (determinism, naturalism). Andrés ponders the role of the woman –
maybe things are actually better in the East with polygamous harems. “La prostitución, esa asquerosa llaga del
cuerpo social; la ilegitimidad de los hijos, esa irritante injusticia; el
celibato de la mujer, esa absurda esterilización de fuerzas en las clases
superiores, esa inhumana condena al más bárbaro de los presidios en las clases
proletarias: cientos de miles de infelices desheredadas de la suerte, obligadas
a arrastrar, para ellas y sus bastardos, una vida miserable de privaciones y
trabajos.” His daughter is condemned to suffer the vía crucis of her gender. Andrés is irrationally terrified that his
daughter will die – foreshadowing.
XXXV.
Andrés feels purified and tranquilo in the
presence of his daughter Andrea. He’s worried about how fickle fate is – vague
desire to be able to have faith in something like God, but he’s pretty much an
atheist.
XXXVI.
Everything is going well for Andrés financially
with the ranch, etc. He’s going to be able to provide for his daughter’s
future, and he imagines what she’ll be able to do. Ironic contrast: “Pero como si entre las leyes ocultas
que gobiernan el universo existiera una, bárbara, monstruosa, exclusivamente
destinada a castigar por el delito de haber gozado alguna vez, el sueño
acariciado por Andrés no debía tardar en disiparse convertido en una ironía
sangrienta del destino.”
XXXVII. It’s
a hot day. (Constant commentary on
weather…) Andrés is working hard; he’s driven by a blind ambition to accumulate
and increase his wealth.
XXXVIII. Andrés
arrives from working to eat with his daughter and aunt; he and his daughter are
super close. She is very affectionate with him. Andrés has a bad feeling that something
horrible is going to happen, but says his mind’s playing tricks on him. “His
daughter wouldn’t get sick, she would live a long healthy life…” (Pessimism, foreshadowing).
XXXIX. A
few hours later in the middle of the night, Andrea is sick with croup, a
respiratory illness. Andrés feels as though he’s already seeing her death
sentence, and starts to panic. He forces her to take some medicine and sends
for a doctor – ASAP.
XL.
Andrés
starts to give up hope – “no había remedio, toda esperanza era vana, el crup no
perdonaba…” He feels useless – wishes the sickness would take human
form, something he could hurt and kill. “Only a miracle, only God could save
her… but where is that merciful God anyways?” Andrés makes another medicine to
give her and thinks she has died and starts to shout – but, false alarm, she’s
still alive.
XLI.
The doctor finally arrives. He gets the gunk
(phlegm) out of Andrea’s throat. (Scientific,
talks about details of cure).
XLII. Andrea’s
still sick. Andrés is suffering, super worried for her. He plagues the doctor
with constant questions. (Scientific/medical
terminology). A ranch-hand shows up and tells Andrés that things on the
ranch aren’t going so well; a lot of cows drowned in the flooded river – Andrés
doesn’t care at all, says they can all die for all he cares.
XLIII.
The doctor’s going to operate on Andrea since
she’s not improving. The doctor will need help in surgery and asks Andrés to
get some other man, Andrés refuses and says he himself will help. “Con las señoras no debe uno contar en
estos casos”
XLIV. Operation
on Andrea. Doctor cuts her throat open – Andrés and servant man hold her down. (Blood,
violence). Andrés is watching this horrible spectacle – “La desgraciada
criatura le hacía el efecto de un cordero degollado.” (Like the sheep at the beginning). Andrés
cries out to God – “I believe in you… I’ll believe in you if you just save her!”
XLV. After
all that, nothing worked. Andrea died. Andrés goes into a weird silent trance. He
wants to kill himself; he’s very calm about the whole thing. He cuts a cross
into his own front, his stomach. He waits but isn’t dying and he gets angry: “Vida
perra, puta… - rugió Andrés -, yo te he de arrancar de cuajo!” So he tears out
his own intestines; his blood splashes out onto his daughter’s cadaver, and he
dies. Smoke billows in the air… FIN.
No comments:
Post a Comment