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27 pages 54 minutes read

Gabriel García Márquez

One Of These Days

Fiction | Short Story | Adult | Published in 2008

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Literary Devices

Repetition

The repetition of Aurelio’s actions as he spends hours polishing false teeth in his office depicts the monotonous daily experiences of the working class, reflecting the aim of neorealist literature by presenting a quotidian scene. The repetition of his actions, along with his prioritization of these menial tasks over the Mayor’s request, is also important to the development of Aurelio’s character since it displays his disdain for the Mayor through action rather than narrative exposition. Aurelio’s meticulous, calm, repetitive actions are juxtaposed with the escalating and violent dialogue between him and the Mayor (mediated by his son) that threaten an armed conflict during the rising action. The repetition of the son’s interruptions also disrupts the tranquil pace of the narrative, hurtling it toward conflict.

Anticlimax

Through symbolism and dialogue during the rising action, the story leads the reader to expect a violent altercation between the Mayor and the dentist. Aurelio’s dialogue up to this point has shown disdain for the Mayor, particularly when he is caught in his lie that he is in fact in the office and seems unconcerned: “So much the better” (74). The Mayor’s desperation in the waiting room is relayed by Aurelio’s son and the threat of a shooting if Aurelio doesn’t comply. Aurelio’s calm and calculated movements don’t suggest a change in his behavior. His character stays on the course of conflict by revealing his own revolver and replying to the threat, “[t]ell him to come and shoot me” (74). The appearance of the Mayor with a face “swollen and in pain” is an inciting incident that changes Aurelio’s response toward the Mayor, defusing the threat of violence and setting the stage for a different kind of confrontation.

Subtext

The narrative relies heavily on subtext since so much of what prompts the conflict between the dentist and the Mayor is left unstated. The third-person limited narrator does not provide flashbacks, glimpses into the minds of the characters, or narrative exposition to explain the history that has led Aurelio to despise the Mayor. The animosity between the two characters is expressed in their threatening speech, mediated by Aurelio’s son, and in the descriptions of their body language—Aurelio’s calm and calculated movements and the Mayor’s rigid shows of strength despite his physical malady.

Though it’s contextually clear that Aurelio and the Mayor are political adversaries, the reliance on subtext rather than explicit exposition allows for more variety in the interpretation of the characters. Because the narrative doesn’t directly explain the political disagreement between the two men, or Aurelio’s connection to the 20 dead men, or how the Mayor caused their deaths, it provides a more universal depiction of political corruption and violence than one set within a clearly defined historical and political context.

Irony

Once the Mayor steps into Aurelio’s office, acknowledging his physical vulnerability and need for Aurelio’s assistance, the power dynamic between the two men starts to shift. Although the narration doesn’t depict the Mayor torturing or killing anyone, he resorts to threats of physical violence during his initial exchanges with the dentist (mediated by an innocent child). This, coupled with Aurelio’s accusation that he is responsible for multiple deaths, suggests that he is a violent man used to abusing his power.

The climax of the story is ironic since it presents a scene wholly opposite from the normal power dynamic between the two men. When Aurelio has the Mayor’s tooth in his forceps, causing him immense pain, the power relationship between Aurelio and the Mayor has completely reversed since the Mayor in that moment is helpless and vulnerable, like the men he killed. This ironic reversal sets the stage for Aurelio’s morally complex attitude toward his enemy, as he exacts retribution for his murdered comrades while displaying compassion at the same time.

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