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“praise the Lord,” they sighed, “he’s ours!”
The invocation of god as well as the use of the possessive “he’s ours” denotes the desire for people to possess and be possessed. The desire for connection is so strong that it extends past mortality, for even the drowned Esteban is “adopted” by the finest people in the village and is cast away without an anchor as to allow him to return if he chooses. The evocation of religious is significant, drawing up the relationship between human beings and god, a relationship that becomes comparable to the way the villagers feel about Esteban. The physical body of a man becomes bestowed with supernatural significance as it is decorated with “relics,” “main-alter decorations,” “nails and holy-water jars” (234) all through the function of storytelling. The changes that come about after the village’s encounter also paint Esteban as a martyr. It is clear that storytelling has the power to transform the ordinary into the extraordinary.
"He has the face of someone called Esteban."
The women's immediacy in their need to name and craft an identity for this strange indicates the need for characters in Marquez's work to make use of storytelling when confronted with the unknown. The certainty in which they christian this stranger Esteban reflects the desire and need for human beings to make sense of what we do not know.
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Study Guide for The Handsomest Drowned Man in the World and Other Stories
The Handsomest Drowned Man in the World and Other Stories study guide contains a biography of Gabriel Garcia Marquez, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
Essays for The Handsomest Drowned Man in the World and Other Stories
The Handsomest Drowned Man in the World and Other Stories essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of short stories by Gabriel Garcia Marquez.