n two hundred bitterns who told the time with a deafening cackling strolled at will. In wire pens that surrounded the dance floor and among large Amazonian camellias there were herons of different colors, crocodiles as fat as pigs, snakes with twelve rattles, and a turtle with a gilded shell who dove in a small artificial ocean. There was a big white dog, meek and a pederast, who would give stud services nevertheless in order to be fed. The atmosphere had an innocent denseness, as if it had just been created, and the beautiful mulatto girls who waited hopelessly among the blood-red petals and the outmoded phonograph records knew ways of love that man had left behind forgotten in the earthly, paradise. The first night that the group visited that greenhouse of illusions the splendid and taciturn old woman who guarded the entrance in a wicker rocking chair felt that time was turning back to its earliest origins when among the five who were arriving she saw a bony, jaundiced man with Tartar cheekbones, marked forever and from the beginning of the world with the pox of solitude.
"Lord, Lord," she sighed, "Aureliano!"
She was seeing Colonel Aureliano Buendia once more as she had seen him in the light of a lamp long before the wars, long before the desolation of glory and the exile of disillusionment, that remote dawn when he went to her bedroom to give the first command of his life: the command to give him love. It was Pilar Ternera. Years before, when she had reached one hundred forty-five years of age, she had given up the pernicious custom of keeping track of her age and she went on living in the static and marginal time of memories, in a future perfectly revealed and established, beyond the futures disturbed by the insidious snares and suppositions of her cards.
From that night on Aureliano took refuge in the compassionate tenderness and understanding of his unknown great-great-grandmother. Sitting in her wicker rocking chair, she would recall the past, reconstruct the grandeur and misfortunes of the family and the splendor of Macondo, which was now erased, while Alvaro frightened the crocodiles with his noisy laughter and Alfonso invented outlandish stories about the bitterns who had pecked out the eyes of four customers who misbehaved the week before, and Gabriel was in the room of the pensive mulatto girl who did not collect in money but in letters to a smuggler boyfriend who was in prison on the other side of the Orinoco because the border guards had caught him and had made him sit on a chamberpot that filled up with a mixture of shit and diamonds. That true brothel, with that maternal proprietress, was the world of which Aureliano had dreamed during his prolonged captivity. He felt so well, so close to perfect companionship, that he thought of no other refuge on the afternoon on which Amaranta Ursula had made his illusions crumble. He was ready to unburden himself with words so that someone could break the knots that bound his chest, but he only managed to let out a fluid, warm, and restorative weeping in Pilar Ternera's lap. She let him finish, scratching his head with the tips of her fingers, and without his having revealed that he was weeping from love, she recognized immediately the oldest sobs in the history of man.
"It's all right, child," she consoled him. "Now tell me who it is."
When Aureliano told her, Pilar Ternera let out a deep laugh, the old expansive laugh that ended up as a cooing of doves. There was no mystery in the heart of a Buendia that was impenetrable for her because a century of cards and experience had taught her that the history of the family was a machine with unavoidable repetitions, a turning wheel that would have gone on spilling into eternity were it not for the progressive and irremediable wearing of the axle.
"Don't you worry," she said, smiling. "Wherever she is right now, she's waiting for you."
It was half past four in the afternoon when Amaranta Ursula came out of her bath. Aureliano saw her go by his room with a robe of soft folds and a towel wrapped around her head like a turban. He followed her almost on tiptoes, stumbling from drunkenness, and he went into the nuptial bedroom just as she opened the robe and closed it again in fright. He made a silent signal toward the next room, where the door was half open and where Aureliano knew that Gaston was beginning to write a letter.
"Go away," she said voicelessly.
Aureliano smiled, picked her up by the waist with both hands like a pot of begonias, and dropped her on her back on the bed. With a brutal tug he pulled off her bathrobe before she had time to resist and he loomed over an abyss of newly washed nudity whose skin color, lines of fuzz, and hidden moles had all been imagined in the shadows of the other rooms. Amaranta Ursula defended herself sincerely with the astuteness of a wise woman, weaseling her slippery, flexible, and fragrant weasel's body as she tried to knee him in the kidneys and scorpion his face with her nails, but without either of them giving a gasp that might not have been taken for the breathing of a person watching the meager April sunset through the open window. It was a fierce fight, a battle to the death, but it seemed to be without violence because it consisted of distorted attacks and ghostly evasions, slow, cautious, solemn, so that during it all there was time for the petunias to bloom and for Gaston to forget about his aviator's dreams in the next room, as if they were two enemy lovers seeking reconciliation at the bottom of an aquarium. In the heat of that savage and ceremonious struggle, Amaranta Ursula understood that her meticulous silence was so irrational that it could awaken the suspicions of her nearby husband much more than the sound of warfare that they were trying to avoid. Then she began to laugh with her lips tight together, without giving up the fight, but defending herself with false bites and deweaseling her body little by little until they both were conscious of being adversaries and accomplices at the same time and the affray degenerated into a conventional gambol and the attacks became caresses. Suddenly, almost playfully, like one more bit of mischief, Amaranta Ursula dropped her defense, and when she tried to recover, frightened by what she herself had made possible, it was too late. A great commotion immobilized her in her center of gravity, planted her in her place, and her defensive will was demolished by the irresistible anxiety to discover what the orange whistles and the invisible globes on the other side of death were like. She barely had time to reach out her hand and grope for the towel to put a gag between her teeth so that she would not let out the cat howls that were already tearing at her insides.
PILAR TERNERA died in her wicker rocking chair during one night of festivities as she watched over the entrance to her paradise. In accordance with her last wishes she was not buried in a coffin but sitting in her rocker, which eight men lowered by ropes into a huge hole dug in the center of the dance floor. The mulatto girls, dressed in black, pale from weeping, invented shadowy rites as they took off their earrings, brooches, and rings and threw them into the pit before it was closed over with a slab that bore neither name nor dates, and that was covered with a pile of Amazonian camellias. After poisoning the animals, they closed up the doors and windows with brick and mortar and they scattered out into the world with their wooden trunks that were lined with pictures of saints, prints from magazines, and the portraits of sometime sweethearts, remote and fantastic, who shat diamonds, or ate cannibals, or were crowned playing-card kings on the high seas.
It was the end. In Pilar Ternera's tomb, among the psalms and cheap whore jewelry, the ruins of the past would rot, the little that remained after the wise Catalonian had auctioned off his bookstore and returned to the Mediterranean village where he had been born, overcome by a yearning for a lasting springtime. No one could have foreseen his decision. He had arrived in Macondo during the splendor of the banana company, fleeing from one of many wars, and nothing more practical had occurred to him than to set up that bookshop of incunabula and first editions in several languages, which casual customers would thumb through cautiously, as if they were junk books, as they waited their turn to have their dreams interpreted in the house across the way. He spent half his life in the back of the store, scribbling in his extra-careful hand in purple ink and on pages that he tore out of school notebooks, and no one was sure exactly what he was writing. When Aureliano first met him he had two boxes of those motley pages that in some way made one think of Melquiades' parchments, and from that time until he left he had filled a third one, so it was reasonable to believe that he had done nothing else during his stay in Macondo. The only people with whom he maintained relations were the four friends, whom he had exchange their tops and kites for books, and he set them to reading Seneca and Ovid while they were still in grammar school. He treated the classical writers with a household familiarity, as if they had all been his roommates at some period, and he knew many things that should not have been known, such as the fact that Saint Augustine wore a wool jacket under his habit that he did not take off for fourteen years and that Arnaldo of Villanova, the necromancer, was impotent since childhood because of a scorpion bite. His fervor for the written word was an interweaving of solemn respect and gossipy irreverence. Not even his own manuscripts were safe from that dualism. Having learned Catalan in order to translate them, Alfonso put a roll of pages in his pockets, which were always full of newspaper clippings and manuals for strange trades, and one night he lost them in the house of the little girls who went to bed because of hunger. When the wise old grandfather found out, instead of raising a row as had been feared, he commented, dying with laughter, that it was the natural destiny of literature. On the other hand, there was no human power capable of persuading him not to take along the three boxes when he returned to his native village, and he unleashed a string of Carthaginian curses at the railroad inspectors who tried to ship them as freight until he finally succeeded in keeping them with him in the passenger coach. "The world must be all fucked up," he said then, "when men travel first class and literature goes as freight." That was the last thing he was heard to say. He had spent a dark week on the final preparations for the trip, because as the hour approached his humor was breaking down and things began to be misplaced, and what he put in one place would appear in another, attacked by the same elves that had tormented Fernanda.
"Collons," he would curse. "I shit on Canon Twenty-seven of the Synod of London."
German and Aureliano took care of him. They helped him like a child, fastening his tickets and immigration documents to his pockets with safety pins, making him a detailed list of what he must do from the time he left Macondo until he landed in Barcelona, but nonetheless he threw away a pair of pants with half of his money in it without realizing it. The night before the trip, after nailing up the boxes and putting his clothing into the same suitcase that he had brought when he first came, he narrowed his clam eyes, pointed with a kind of impudent benediction at the stacks of books with which he had endured during his exile, and said to his friends:
"All that shit there I leave to you people!"
Three months later they received in a large envelope twenty-nine letters and more than fifty pictures that he had accumulated during the leisure of the high seas. Although he did not date them, the order in which he had written the letters was obvious. In the first ones, with his customary good humor, he spoke about the difficulties of the crossing, the urge he had to throw the cargo officer overboard when he would not let him keep the three boxes in his cabin, the clear imbecility of a lady who was terrified at the number thirteen, not out of superstition but because she thought it was a number that had no end, and the bet that he had won during the first dinner because he had recognized in the drinking water on board the taste of the nighttime beets by the springs of Lerida. With the passage of the days, however, the reality of life on board mattered less and less to him, and even the most recent and trivial happenings seemed worthy of nostalgia, because as the ship got farther away, his memory began to grow sad. That process of nostalgia was also evident in the pictures. In the first ones he looked happy, with his sport shirt which looked like a hospital jacket and his snowy mane, in an October Caribbean filled with whitecaps. In the last ones he could be seen to be wearing a dark coat and a silk scarf, pale in the face, taciturn from absence on the deck of a mournful ship that had come to be like a sleepwalker on the autumnal seas. German and Aureliano answered his letters. He wrote so many during the first months that at that time they felt closer to him than when he had been in Macondo, and they were almost freed from the rancor that he had left behind. At first he told them that everything was just the same, that the pink snails were still in the house where he had been born, that the dry herring still had the same taste on a piece of toast, that the waterfalls in the village still took on a perfumed smell at dusk. They were the notebook pages again, woven with the purple scribbling, in which he dedicated a special paragraph to each one. Nevertheless, and although he himself did not seem to notice it, those letters of recuperation and stimulation were slowly changing into pastoral letters of disenchantment. One winter night while the soup was boiling in the fireplace, he missed the heat of the back of his store, the buzzing of the sun on the dusty almond trees, the whistle of the train during the lethargy of siesta time, just as in Macondo he had missed the winter soup in the fireplace, the cries of the coffee vendor, and the fleeting larks of springtime. Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.
Alvaro was the first to take the advice to abandon Macondo. He sold everything, even the tame jaguar that teased passersby from the courtyard of his house, and he bought an eternal ticket on a train that never stopped traveling. In the postcards that he sent from the way stations he would describe with shouts the instantaneous images that he had seen from the window of his coach, and it was as if he were tearing up and throwing into oblivion some long, evanescent poem: the chimerical Negroes in the cotton fields of Louisiana, the winged horses in the bluegrass of Kentucky, the Greek lovers in the infernal sunsets of Arizona, the girl in the red sweater painting watercolors by a lake in Michigan who waved at him with her brushes, not to say farewell but out of hope, because she did not know that she was watching a train with no return passing by. Then Alfonso and German left one Saturday with the idea of coming back on Monday, but nothing more was ever heard of them. A year after the departure of the wise Catalonian the only one left in Macondo was Gabriel, still adrift at the mercy of Nigromanta's chancy charity and answering the questions of a contest in a French magazine in which the first prize was a trip to Paris. Aureliano, who was the one who subscribed to it, helped him fill in the answers, sometimes in his house but most of the time among the ceramic bottles and atmosphere of valerian in the only pharmacy left in Macondo, where Mercedes, Gabriel's stealthy girl friend, lived. It was the last that remained of a past whose annihilation had not taken place because it was still in a process of annihilation, consuming itself from within, ending at every moment but never ending its ending. The town had reached such extremes of inactivity that when Gabriel won the contest and left for Paris with two changes of clothing, a pair of shoes, and the complete works of Rabelais, he had to signal the engineer to stop the train and pick him up. The old Street of the Turks was at that time an abandoned corner where the last Arabs were letting themselves be dragged off to death with the age-old custom of sitting in their doorways, although it had been many years since they had sold the last yard of diagonal cloth, and in the shadowy showcases only the decapitated manikins remained. The banana company's city, which Patricia Brown may have tried to evoke for her grandchildren during the nights of intolerance and dill pickles in Prattville, Alabama, was a plain of wild grass. The ancient priest who had taken Father Angel's place and whose name no one had bothered to find out awaited God's mercy stretched out casually in a hammock, tortured by arthritis and the insomnia of doubt while the lizards and rats fought over the inheritance of the nearby church. In that Macondo forgotten even by the birds, where the dust and the heat had become so strong that it was difficult to breathe, secluded by solitude and love and by the solitude of love in a house where it was almost impossible to sleep because of the noise of the red ants, Aureliano and Amaranta Ursula were the only happy beings, and the most happy on the face of the earth.
Gaston had returned to Brussels. Tired of waiting for the airplane, one day he put his indispensable things into a small suitcase, took his file of correspondence, and left with the idea of returning by air before his concession was turned over to a group of German pilots who had presented the provincial authorities with a more ambitious project than his. Since the afternoon of their first love, Aureliano and Amaranta Ursula had continued taking advantage of her husband's rare unguarded moments, making love with gagged ardor in chance meetings and almost always interrupted by unexpected returns. But when they saw themselves alone in the house they succumbed to the delirium of lovers who were making up for lost time. It was a mad passion, unhinging, which made Fernanda's bones tremble with horror in her grave and which kept them in a state of perpetual excitement. Amaranta Ursula's shrieks, her songs of agony would break out the same at two in the afternoon on the dining-room table as at two in the morning in the pantry. "What hurts me most," she would say, laughing, "is all the time that we wasted." In the bewilderment of passion she watched the ants devastating the garden, sating their prehistoric hunger with the beams of the house, and she watched the torrents of living lava take over the porch again, but she bothered to fight them only when she found them in her bedroom. Aureliano abandoned the parchments, did not leave the house again, and carelessly answered the letters from the wise Catalonian. They lost their sense of reality, the notion of time, the rhythm of daily habits. They closed the doors and windows again so as not to waste time getting undressed and they walked about the house as Remedios the Bea