THE TRANSLATION

ANALYSIS AND COMPREHENSIVE READING

FIRST PART: LIGHTHOUSE HOTEL

Chapters 1, 2, 3, and 4

Characterize the protagonist of the story. Transcribe fragments that refer to him.
directly. Complete the characterization with adjectives that arise from the actions of the character.

The protagonist of this story, Miguel De Blast, presents himself perhaps with several characteristics that
they can be shown in a general way or in most characters of novels or productions
oriented towards suspense like La Traducción.
In this way, the character is observed or presented from a point of view in relation to the plot that
has a certain halo of mystery and arouses a certain interest in the reader. There is a lot about it.
of characteristics that are assumed or implied, which are left to the imagination or to
reader's assumption. In other words, a detailed description of the character is not provided, but you
create, at the same time, an image of it.
This image presents or characterizes him as a translator nearing forty years old, for
calm, patient nature suitable for order. This can be observed, for example, in the
... With patience, I pieced together the fragments: whoever has
trying to reassemble a broken vase, knows that, no matter how meticulous his effort, there are fragments that
never appear...".(Page 15)
Likewise, here another of the main characteristics can be observed, which is its predisposition.
almost bordering on obsession, to maintain order, to be prepared for everything. This can be
... Before I went to bed, I prepared the money, the document, and the
passages, because I'm not used to getting up early and in the early morning I act like a
... and I tried to organize the notes I had made for the talk about Kabliz
what I had to give..."(Page 23),"... In the room I set out to tidy up a bit what I would have to
say the next day..."(Page 24).
Likewise, he presents himself as a lonely man or distanced from people in general, due to
election or for one's own convenience. This is observed, for example, in their relationship with others.
translators or even with his own wife, Elena. This characteristic can be seen reflected in the
... I hadn't run into any of my colleagues for a long time...
... My job did not facilitate communication with my colleagues either, because I went through
las editoriales sólo para retirar los originales... (Pág. 16)”, “... Durante toda mi vida me he hecho
friend of people who for one reason or another have gone abroad: with those who stayed, no
I have nothing in common, not even with those who left. I feel like an outsider by omission...
... it is enough that we maintain, from time to time, a dialogue like this, in which she exercises the
majority age, sensibility and order, qualities in which he/she does not believe either...” (Page 17). Said
remoteness or distance in general has a very marked exception, which goes as far as contradiction,
regarding the relationship established with Ana Despina, for whom he has feelings and
totally opposite sensations.
Every so often, and increasingly often in the book, he experiences very severe headaches, which
nothing can calm down. This is evidenced, for example, in the following excerpt: "... The
migraines, which I had suffered from since I was fifteen, had become more acute in the last few months. The studies
they had been of no use; they had prescribed medications that had ruined my
stomach but not with the pain...” (Page 17).
He is always presented as a great observer of even the smallest details, and he
it shows evidence of its memory and its ability to remember things. This can be evidenced,
...Next to me was an Italian woman in her fifties,
slim and elegant. She took a mirror from her purse to see if her hairstyle had survived the wind.
She adjusted her hair with her right hand until she thought it was good enough to
introducing himself...” (Page 20),“...He was almost two meters tall and dressed like a climber. His boots
they resonated in the room with a confidence that their gestures contradicted: until we all had
arrived, I was not going to be calm...” (Page 23).
Another aspect that can be noted regarding De Blast's personality is his resentment towards
Naum. And while we consider that the relationship with the other characters would move to a different level
secondary or of lesser importance in defining their personality, we believe that their interaction with this
last defines many aspects of the character's traits. Thus, this can be evidenced.
...I felt a sting of envy and jealousy; it had been a while since I had felt that.
I was thinking about Naum, and I was overwhelmed by the feeling of not being able to distance myself, as if one could see, upon passing.

on the street, a schoolmate, and I would like to hit him for some offense from three decades ago
back..."(Page 18).
Although throughout the book there are other aspects that can be considered to define
the characterization of the protagonist, we believe that, basically, the aforementioned form a
image and a proper identification of the character.

There is a recurring topic in the description of the environment. What is it?

Before pointing out what the topic being referred to is, we believe it is necessary to define what it refers to.
reference when talking about this. Thus, a topic is an opinion, idea, or expression that is used and is
repeats very frequently under certain circumstances.
Considering the above, we can find or point out two topics in the description that
recurrent results. One presents itself, perhaps, more clearly and perhaps not so
recurrently, but it does so using the same idea through the descriptions of the environment,
such as the allusion to the strong and vigorous wind that ravaged the place. This can be observed, by
'...When we landed, the wind fiercely swept the runway...' (Page.
["...the wind shook the van...","...the wind was hitting the windows..."]
the wind dissuaded me from taking my walk beyond a crumbling stone pier..."(Page 27).
The other topic we can point out is presented, perhaps, not so clearly in reference to a
same element or subject as the previous one in relation to the "wind", but if in what it does to the
repetition of the same idea, regarding the remoteness and desolation of the place, the abandonment and loneliness in
general. This can be observed in the following excerpts: "The other passengers commented on the
landscape, that is, the non-landscape. On the sides of the road there was nothing; not a single building in
eighty kilometers. The vegetation, low and thorny, stretched endlessly" (Page 21), "We passed
first next to a cemetery with iron fences, enclosed by gray walls, and then next to
a lighthouse that seemed abandoned" (Page 22).

Complete these three personifications referred to the same topic.

...the wind was sweeping across the runway with force.
The wind shook the van.
The wind was hitting the windows.
The use of other literary resources completes the description of the environment. Look for those that
are related to the following words and add in parentheses the resource.

Landscape: 'The other passengers commented on the landscape, that is, the non-landscape. On the sides of the
There was nothing on the road, not a single building for eighty kilometers. The vegetation was low and
Espinosa extended without limit.” (Page 21) (Description), “Maps are an abstract version of
landscape; but on that trip things happened the other way around, and the landscape was an abstract version of
map.
The sea, gray and choppy, had raised a strip of dead seaweed on the beach, which in some
points took on the consistency of a long wall of rot” (Page 22) (Comparison)
Hotel: "The hotel was completely disproportionate compared to Puerto Esfinge. It was the center
of a large tourist complex that had not come to exist. It was built in two bodies that
opened at an angle over the coast. One half was finished and beginning to decline; the other half
it had no doors, nor windows nor masonry" (Page 22) (Description)

Find out what the iron meshes are used for in vehicles. Explain below.
causes.

According to the information we were able to obtain mainly from the Internet, we learned that in
the metal mesh glass is introduced into the molten glass before it passes through
the rolling rollers. They are used to prevent the glass from shattering when broken. The glass
untouchable or security, which is used in car windshields, serve the function of
retain the fragments in case of breakage.
Based on this information, we observed that metal meshes are practically used
exclusively to maintain or incorporate security measures regarding the windshields of
cars. This, and related to history, applies in places or areas where it is feasible.
the possibility of landslides, or where the asphalt or the roads are splattered and invaded by
rock debris that can impact the windshield, causing damage to the driver and the
companions. This is why the nets are placed, as a preventive measure against these possible
incidents.

Complete the following statement summarizing the information.

(...) the man in yellow took us to a gray van, which had the windshield protected by a
iron mesh," that is: that the vehicle, for me unnecessarily, was protected.
in the face of possible incidents that could arise from the debris that the rocks carelessly leave behind
that surround the roads. It was totally superfluous. Judging by the place, by its people and,
Above all, from the driver, it could be deduced that neither death nor tragedy could even
to think about passing through there. Then, I would realize that I was mistaken...

... and the landscape was an abstract version of the map.

What is translating? Transcribe the definition that appears in the text.

In the definition that can be obtained from the book, "...to translate is to forget...". This can be understood,
more as a metaphorical definition than as a formal or exact definition of what it means to translate,
which refers to the feelings, sensations, and personal conclusions of Miguel De Blast
en cuanto a lo que es traducir. Así, podemos observar que realiza esta conceptualización a partir de
various personal situations. In this way, it can be seen broadly that he considers the
translation not as a profession, nor as a vocation or career, but as a digression that arose
in his life, without him choosing it directly. For this, we can conclude or deduce that, from
of the translation, he was forced or obligated to forget his true goals or dreams to pursue. This
...none of us considered
translation not as a definitive profession, but rather as a diversion from other occupations.
Some had wanted to be writers, and had ended up in translation; others taught in the
university, and they had arrived at the translation. Without realizing it, I had also taken that
detour
Another important point that can lead to this definition by the protagonist about what it is
to translate, and its close relationship to forgetfulness, is what refers to another significant aspect of the work, such as its
relationship with Ana Despina. And, although the loss of her or the impossibility of reaching her love occurs at
starting from the conflict with Naum and not directly because of the translation, it is due to this last one for the
who knows his wife, and for which he is forced (although later everything is seen the opposite) to
forget about Ana.

Review the concept of characterization and identify the one used in this fragment through
an underline:

From the rotting seaweed, a strong, sweet smell was coming; it was trapped in the fabric.
remnants of the city and the sea: cigarette packs, crabs, fishing lines, beer cans

Through the highlighting, we can identify that, through the description and representation or image
dad, it seeks to characterize or define another element that appears in the fragment, such as the
reference to the "remains of the city and the sea." In this way, an attempt is made to describe them.

Interpret the meaning of the word at the beginning until the end of chapter 4. Why do you think it begins with
uppercase? What other words in that paragraph are related to it? Why?

We believe that, based on our deductions, the initial word at the end of chapter four possesses
a great importance. This is so because it refers to the body of the sea lion
dead situated on the coast, and we consider that it is from there, from the emergence of the epidemic
of the death of the sea lions, which in the book begins to present the tone or characteristic
of mystery, of enigma or unknown, perhaps because of the very nature that death has in itself
nature or essence. This is why the death of the sea lion is planted as the beginning of something,
this case of the mystery, taking into account what is proposed in the same paragraph regarding that:
...the symbols lurk at, among, or behind things, and there is no place to rest the eyes -
not even eighty kilometers of desert - where there is no Signal, Letter or Message” (Page 27).
And it is precisely from this paragraph that refers to Nemboru's book that we can deduce
because the word Initial is written with a capital letter. This is so as we mentioned before,
considera al lobo marino como el inicio de algo, y esto lo hace a partir del mensaje que contiene el
book of Nnemboru, regarding that in all things we can find a meaning or a
signal, that everything is presented as a symbol of something. And just like the other words that
they carry that message (signal, letter and message) are written in capital letters, it is that it
establish a relationship or determine that the initial word is written the same
form.
And as it has been said, it relates to the mentioned words since among all, they generate or
they formulate the deduction that from the fact of having found the corpse of the sea lion,
the beginning or the start of the events that later arise during the course of
book, which in turn initiates the mystery and the police and suspense plot.
In this way, but from a more subjective interpretation, we can deduce the importance of the
initial word based on an event that occurs later in the development of the story, such as
the resolution of the case of the 'death' of the sea lions, which were actually being killed. This is
It was said that the firefighters in the area, in collusion with the owner of a local bar, were looking for.
fingering an epidemic of sea lion deaths to actually cover up the death of a
persona. The same had basically been buried under the same procedure that was being carried out.
end with the sea lions. In conclusion, it can be said that the shape of an initial was seen in the
wolf's body in allusion to the name of a person, the person killed in the fight, what
I would also explain that the word is written with a capital letter, referring to the proper name of that.
person.

Capítulos 5, 6, 7 y 8

Resuman el contenido global de cada capítulo con una oración unimembre para cada uno.

Chapter 5: Reunion of Ana and Miguel.

Chapter 6: De Blast Conference.
Chapter 7: Approach with Ana, conversation with Ximena.
Chapter 8: Death of Valner.

A plot of romantic intrigue is beginning to take shape on these pages. List the actions of the
protagonist that relate to Ana Despina.

Miguel searches the registration book for Ana's room number.

Call Ana from the hotel hall booth.
Go up to Ana's room.
They hug each other.

They talk about their marriages, and briefly about their lives over the years in
those who were distant.
Ana enters the bathroom and starts drying her hair.
7. Miguel leaves the room, telling Ana that he would wait for her in the hotel lobby.
8. (After De Blast's conference) They meet at the hotel bar.
They go for a walk along the hotel coast.
10. They talk about an anecdote from the past.
11. Miguel hugs Ana.
They encounter a dead sea lion, and two translators who were observing it.
[Link], frightened by the corpse of the sea lion, hugs Miguel.
14. They move away from the place returning to the hotel.
15. Miguel takes Ana by the arm and kisses her.
[Link] accepts the kiss but expresses her feeling of inadequacy in front of it.
[Link] arrive at the hotel and notice the commotion caused by Valner's death.

Reread and compare the anecdote that Vázquez refers to in the bar with the dialogue between Khun and Miguel.
Adopt a critical attitude and draw a conclusion.

To be honest, we found it quite difficult or forced to find, both in the anecdote to which it refers
Vázquez, like in the dialogue that Khun later establishes with Miguel, a point of connection that is given.
in a more or less direct manner that allows us to relate both occasions and compare them. Thus, the
the only possible point of comparison that we find between one and the other, and in a rather tacit way
and implicit, is what makes the presence of irresponsibility, of the imprudent attitude or
risky that is evident on both occasions. Taking this into account, in the anecdote of
Vázquez is clearly observed, as he himself points out or comments on the loss of the original of a
translation they had commissioned, which he himself took care to invent, literally, to
save the situation. This is observed, briefly, in the following quote: “(Vázquez) –I was
telling a colleague that I once lost the original of a little gangster novel, A Lizard
At night (...) I spent the whole night translating the lost original.” (P.30)
In the other case, in the dialogue that Miguel has with Khun, irresponsibility is marked or is
observe the attitude that Miguel adopts in response to Khun's request, who asks him to present in
at that same moment his sample, while De Blast was not properly present
prepared or ready to do it at that moment. This is evidenced in the following quote from
-I'm not ready, I always leave everything for the last moment. And the others? - Almost them
I know. We, on the other hand, are friends. I can ask you for the favor. Khun's face, over there in
las alturas, me movió a la piedad. Acepté, irresponsable.” (Pág.32)
However, in this case, another possibility or at least a relevant limitation may arise,
since irresponsibility can also be seen not by Miguel or Khun, since in
They do not bear the responsibility for the modification of the Congress program.
responsibility, on the other hand, falls on Naum, who is the one who should give the presentation in that
schedule, and who is absent at the last moment.
In short, rounding off the strained relationship that can be established between both situations, one can
to conclude that, in the work, at least in this section or fragment, an image is sought
risky or irresponsible of the translators, through certain attitudes that they possess. This,
perhaps, it is done to provide for them, moreover, another quality that can be concluded, as it is the
improvisation or the unplanned confrontation of adversities that arise suddenly.

Use the words below and create a file with the data obtained up to
this chapter. Add everything necessary and organize it as deemed appropriate.

The completed records are ordered consecutively according to what it is, according to our
appearance, the order of importance that each point presents in this section of the book. About each one,
The information that we consider most relevant or noteworthy has been added so far.

We consider that it should be located first since, essentially, it is this

point from which the foundation of the story develops, and from which the majority are established
of the themes, the characteristics of the characters, the mysteries to be unraveled, etc.
Considering this, it is presented as an activity that perhaps does not result in the vocation or the
wish for life of none of those who carry it out. It is presented as a possibility or as a
alternative, but not as a career that arises from hobby or taste. In addition, it is highlighted.
as an activity that is inherently solitary, where there is little relationship with others
colleagues. In contrast to this, it is the main reason why the Congress is held in
Sphinx Port. It is presented as the means or tool that allows deciphering, that allows
to interpret and understand things that without it would be enigmatic or incomprehensible.
Death: While it is, perhaps, the point or aspect that has the least development so far.
chapter, we consider it appropriate to place this item in second place since it is, in our opinion,
the element that drastically changes history and, after the introduction, precisely
it introduces us to the mystery and the police aspect of the novel. The characteristic it presents is
which is reflected at all times with a certain aura of mystery, of unknown, of enigma. It is
observe up to this moment as the unraveler, in the case of Valner's death, of the plot or the
police plan of the novel, regarding the mystery exclusively unleashed at the congress. It is
observe as confidential or as a mystery, which seems to hide something. And, in the case of the
sea lions, death presents itself, at first, from the natural plane or point of view and
habitual of the same, since it is assumed a priori that the animals die from an epidemic
generated by nature, which proves to be inevitable or irrevocable.
Throughout the book, death is presented as the essential and fundamental element that results in the
trigger of the plot and all the aspects of a police nature that the work has.

Exhibitors: We believe that they should be located in this position as they also have
an important relevance in the development of the story and in the aspect of mystery to be solved in
the same. The same, at least in this part of the story, are De Blast and, consequently to
this, Valner. The situation of De Blast's exhibition occurs in an improvised manner, due to the
absence about Naum's time. In the exhibition, when it concludes, it immediately follows.
Valner. The importance of the exhibitors is that, implicitly or without clarification, through their
samples or exhibitions, various aspects of the
translation that then hold importance or relevance when it comes to understanding different aspects
that are presented later to solve the crime. Exhibitions are also used to generate
to provide more elements to consider in the police case, since after Valner's death,
its exposure becomes vital in the research.

Puerto Esfinge: like the last point, we do not consider this item to be relevant or
essential for the development of the story, however, it is the place where it unfolds
action and the one that introduces from the very beginning the conducive atmosphere for the mysterious unfolding
and police of the plot, which makes it appropriate to analyze it. The same is presented from a
It starts as a desolate place, with scarce vegetation, almost desert-like and monotonous. It is
It is characterized as a distant and lonely place. It stands out or is repeated on numerous occasions.
presence of a considerable wind in the place.

Sea lions: we consider this the item of least importance since it plays a role in the development of
the story plays a secondary role, which is presented as a complement to the main story, but that
it also provokes certain interest. They are characterized, at first, by presenting themselves in
the story in an ephemeral manner or without too many details. His death is mentioned, but without
too much data. At a certain moment, it is suggested or hinted that their death
this is caused by an epidemic of natural causes that ravages the shores of Puerto Esfinge.
It is important to highlight the first sea lion found by De Blast, as this
last points out or observes in it a Sign or a Message, which will later be revealed over the course of the
history.
Respond: Why do you think the southern landscape deceives by its appearance? What is the 'syndrome of
the unframed paintings?

We believe that it is claimed that the landscape of the south deceives with its appearance from the contradiction.
what is established between the latter, and what actually happens and occurs later in that place. Thus,
from the very beginning, the landscape of the south and this in general is reflected or pointed out as a place
calm, with a serene appearance, calm and inclined or prone to maintain that general order in
all dimensions. It is pointed out or presented from an opposite or distanced perspective of
conflict or problems, almost to the sickly or extreme point of desolation, loneliness or
the negative aspects of that tranquility or extreme calm.
Y, in contrast and marked opposition to this, it can be observed that in the place
develops and takes place a situation of conflict, of extreme problems and complications, that
They are taken to the point of police jurisdiction in terms of deaths, homicides, and murders.
Additionally, it can be observed at all times that the local people, for the most part, are
they present strange or dark pasts, as well as events that occur in the same,
for example, the epidemic of 'deaths' of sea lions.
All of the above is reflected, for example, in the following excerpt from the book, where Ximena,
-It's what everyone who comes from outside thinks.
one glance, see the sea, the seagulls and the sea elephants. But inside the houses, what do they know?
We have the record for suicides and psychosis." (Page 38). It is for all this that it can be said that the
the southern landscape deceives by its appearance.
It is called 'the syndrome of the unhangable frames', according to the conceptualization given in the book, to
the attitude or quality of certain people not to decorate or adorn the place where they live,
referring precisely to not "hanging pictures," because they would not stay living there nor would they
they will settle in the place for a long time. This defines people who transit temporarily and
ephemerally a place or a house. This conceptualization is reflected in the following quote: "-People
It arrives and departs. They seek opportunities every year in a different place. The port awakens and falls asleep.
Every two or three years. Those who arrive do not hang anything on the walls because they are always about to leave.
(Page 38).

Identify by what literary resource the narrator expresses themselves on this occasion:

(Ana) Accepted the kiss, but later said: -That's nothing. It's a postcard that one sends to someone.
what is far and will continue to be far,
It can be said that on that occasion the narrator uses, in conjunction, two literary resources.
that can be distinguished. On one hand, and in a more notable and perhaps more relevant way, it uses the
analogy, since it tries to compare and define its sensation before the kiss through the analogy of the
postal. Likewise, and perhaps in a more indirect way (since it does not use the word 'like'), it seeks
to compare both situations, that of the kiss and the postcard, to define or reflect their feelings in the
moment. It seeks to establish another particular situation as a point of comparison to define it
what one feels at that moment.

Definan, a través del lenguaje connotativo, distintas manifestaciones del amor (por lo menos tres).

The caress: a gentle movement made by rubbing a part of the body, usually the...
hands, delicately over the body of the other.
Desire: a feeling or emotion based on the aspiration or longing, both physical and spiritual, for
to be with the loved one.
Affection: expression that, through physical demonstrations (such as kisses or caresses) or of
another kind (such as compliments, gifts, or treats) seeks to generate pleasure or enjoyment in the other.
SECOND PART: A FOREIGN LANGUAGE

In this part, different layers of fiction begin to mix and overlap. Discuss them according to
the following proposal:

SITUATION PLANS INVOLVED CHARACTERS

POLICE
loving
COGNITIVE

Police plan: this plan develops, in principle, from the death of Valner and the
research referred to this. The characters directly involved with this plan and with
this particular situation includes: obviously, Valner (dead), Guimar (Port commissioner)
Sphinx), Rauach (hotel manager), doctor, Ximena (as a witness to the event, since she was the one who
found the body), and in general, all the translators and people who were present in
that moment in the hotel, as they were involved as potential suspects of the hypothetical
homicide of Valner. Likewise, but in a way and with more secondary roles, the ...
morgue employees transporting Valner's body.
Love plan: this plan unfolds, basically, from the relationships that are established.
between Miguel De Blast, and for obvious reasons more than for commitment, his wife Elena, Ana Despina and
Valner, who together with the first establish a sort of love triangle.
The situations that comprise this plane are: when Ana says goodbye to Miguel the night of
murder, Elena's call to Miguel the next day, Ana's greeting to Naum in the
arrival of this last one, visit to the coal mine, in particular, when Ana shakes hands with Miguel,
Miguel's memories of the romance between Naum and Ana, a walk that Miguel takes with Ana.
Cognitive plan: this plan, in this part of the work as in the previous and subsequent ones, is
given mainly by two essentially situations: by the translators' exposures, and
the knowledge presented in them and that they entail, and the knowledge that generally contributes to
the police investigation and the advances or leads generated by it. The characters involved
In this plan are: in the police section, Commissioner Guimar and the police officers and the doctor who ...
they accompany, at least in a strictly direct way, reserving a secondary role for others
characters like Rauach or Khun; and on the level of exhibitions and the congress, Ana Despina,
Naum.

Comment on what is the interest or concern of the following characters:

In this case, specifically in the case of Julio Khun, his interest and concern are given under
the same point and under the same purpose. The same refers to the fact that it seeks to
The Conference of Translators may, as much as possible, continue with its normal development in
confrontation with the events that occurred, specifically regarding the death of Valner. In
at all times tries to defend, preserve or maintain the image of Congress, trying, without success,
not to divert attention to other areas. He is seen worried, uneasy and
nervous because of this.
Miguel: the attitude that De Blast has throughout this fragment of the book is, perhaps, the one that
is presented in a more vague or imprecise manner, due to the secondary role it adopts during this period.
Thus, Miguel's main concern is possibly due to the presence of Naum.
lastly, due to the enmity he has with the protagonist, and above all, due to the close relationship
What she has with Ana makes De Blast uncomfortable and irritated, who clearly shows signs of annoyance.
facing this. It tries at all times to adapt or accommodate, not to say endure, the arrival
of Naum.
Ximena: the concern that this character has in this part of the book is given or driven
for the same reason that motivates your interest. This reason refers to or specifically relates to
her work environment. In this way, Ximena seeks or tries to integrate herself into the situation of the hotel to
thus be able to cover the situation in the best possible way, and then elevate it to news in the local newspaper. There
interest in everything related to Valner's death, and in capturing even the tiniest detail
happened in the hotel, in relation to the supposed homicide-suicide that disturbs and stirs everyone
Sphinx Port.
Ana: that character, like Miguel, has interests or concerns that remain, perhaps,
relegated to the background during this part of the work, as they play a secondary role
regarding the death of Valner, the central theme of the segment. However, Ana perhaps has a
greater clarity regarding the reflection of your interest, which is clearly focused on the arrival of
Naum to Puerto Esfinge. Thus, he shows attitudes of affection and a close relationship with the latter.
Another topic that concerns Ana is her conference, which she gives in this fragment.

Compare Miguel and Naum and explain what kind of relationship exists between them.

The comparison that can be made between Miguel and Naum is perhaps essentially prone to the
differentiation and the establishment of discrepancies or contrasts basically.
This is, perhaps, taken to the extreme, as the work presents a relationship close to enmity.
and to mutual resentment, to an exacerbated rivalry in all areas. It presents itself with a
an ingredient that repeats itself many times in relationships of this type, such as the initial friendship that
both characters possessed at the beginning.
Thus, from the beginning, Naum is presented as a natural contrast to Miguel. Considering
this is presented as a translator born to be a translator (redundancy intended), with the
qualities and characteristics necessary to succeed in the field. It is presented as a person
naturally a winner, ambitious and successful. At all times it is shown, perhaps, in
comparison with Miguel, as it is expressed that he is smarter, more capable, more suitable, more
competent, but capable, but prepared, etc. than Miguel.
At all times, it can be observed that it is placed over the latter, in every aspect.
The relationship that develops between them is, in principle, based on a work-related bond, which generated something.
similar or close, perhaps, to friendship. However, it is from that work bond that we
a competition begins between both that leads to the aforementioned rivalry. In
At all times, a relationship characterized by increasing competitiveness is observed.
but, due to resentment and bitterness, which at all times places him very close to
hate.
It is worth mentioning that one of the main reasons why the relationship develops in that way,
In addition to the labor aspect, it is related to the emotional part of both, regarding the bond that
both maintain with Ana Despina. Here, a superiority of Naum is established again by
about De Blast, since it is the latter who shows interest in Ana first, and it is Naum who
ending "triumphing" by conquering her.
All these aspects of the relationship between Miguel and Naum can be observed, for example, in the
From almost the beginning, a rivalry had established itself between us.
invisible, a music that sounded far away and that no one else heard, but of which we both were
consientes. Prefiero creer que era él quien la alimentaba; yo –menos ambicioso, menos capaz- le
he was distractedly responding” (Page 72),”Our rivalry needed that –a woman– to be perfect.
At twenty-five, rivalry is training for the future; at forty,
resentment, obsession, and insomnia.

Trace Rina's behavior in chapters 11 and 12. Transcribe fragments as a way of

narrative sequence.

-Rina disturbs Ana during her conference: "-I was about to lose my train of thought. In the second row,
Rina was looking at me and moving her lips; then I realized that she was talking to herself - Ana said.
(Page 60).
Rina rushes at De Blast at the end of the conference: 'I got up to go meet him: someone called me
She bumped into him. It was Rina Agri, who did not apologize and walked away like a sleepwalker." (P.60)
During dinner, she keeps away from the others: 'after the meal, Ana signaled Rina to
she would approach; but the Italian greeted her from afar with a half-smile and stayed in her place.
(Page 65)

Ximena is the only character directly linked to the media. Notice how it changes.
theme of the notes written by the journalist comparing the following speeches:

-"I work for the newspaper El Día. I have to make the summary of each day. I wrote down everything that
you told me, but I have some gaps.
I have to cover the conference for general information. It is much better. The cultural supplement.
no lo lee nadie. Lo mantienen solamente porque la esposa del director escribe poesías”

Clearly, the themes of the notes have a core and a visibly differentiated central theme.
given the events that occur at each moment in Puerto Esfinge and in the hotel.
In this way, it can be observed that prior to Valner's death, the main theme and conductor of
the notes made by the journalist are about Congress itself, thus having to cover what happened in it
from the point of view of content, exhibitors, themes, etc. Then, subsequently to the
death of Valner, the central theme of the notes changes drastically. Thus, the journalist must continue
covering the Congress in general, but now directing its interest and research towards the
death of the translator, considering details, the atmosphere in the hotel, possible suspects,
data from police investigations, etc.

Write a conclusion about it.

We believe that the change that originates in the theme of the notes written by the journalist responds
It is essentially based on a logical attitude that the media adopt in
general, in situations like this. Thus, it is expected that both the media, as well
like any person in general, they become more interested or change the theme of their matters when,
in their field or area of activity, the situation changes, one circumstance being replaced by another
reality of low interest, or that results monolithic and boring, for another of greater interest, relevance or
general importance.
Thus, it seems natural to us, and even necessary, to give more importance, for example, to the death of
a person who attends a conference on a specific theme that is only of interest to a few people.
This is why we believe that the attitude adopted by the journalist responds, perhaps, to standards.
to the methods established by society, which seek to provide the public for which it is intended
information that it seeks, or information that, although it may respond to a morbid curiosity
generalized in society, proves to be more beneficial for the environment. In summary, it can be said that the
information is managed, in all areas, according to what is most beneficial and
productive for the environment, and if it must replace previously allocated spaces to include
If the information is profitable for him, he will do it without hesitation.

Judge the interest of the newspaper El Día through the reading of the following fragment:

He showed me a copy of El Día. It had arrived in time to include the news of the death of
Valner. A gigantic headline announced: Our reporter discovered the corpse.

Notoriously, and perhaps in an exaggerated manner, the newspaper presents its primary interest in
to present, above all, the importance or hierarchy of it, even above the news, as
it can be seen in this case. In this way, it can be observed that the main aim is to highlight the
premiere, but not as news, rather as a preview of the daily, as a personal achievement and one of my own
diary, and not as a journalistic achievement. In this way, it can be observed that the headline seeks
highlight that it was 'our reporter' who discovered the corpse, emphasizing the ownership
from the news and the fact, before the fact itself.
It is observed that an effort is being made to grant a primary and leading role to the newspaper, but from a point of
negative or bad view, as it leaves the news and the fact itself (considered generative and central in
most of the media, at least in theory) relegated and in a secondary role. Having in
Tell this, we can see that it is lost to the very end that, supposedly, it should have.
diary.

Doctor Blanes and his patient also relate to the media, but... how?

Blanes, as much as his patient, and perhaps thanks to him, relates to the media in a way
totally different from the one established or possessed by Ximena, since the latter is a journalist and
has a more direct relationship with them. In contrast, Blanes has a more
media-oriented, but in the negative sense of the word, approaching them through shows or
shows with little cultural content, more in a journalistic manner, using their patient
as a profitable anomaly. This can be reflected in the following quote: “Blanes was a very good doctor.
respetado, hasta que adquirió la costumbre de ir acompañando por pacientes a programas de
television. He mounted shows similar to hypnotists, but with unpredictable results
(Page 76/77)

On the police front, another intrigue is developing parallelly, which is gradually being revealed and has
direct relationship with the environment. What is it? What fact does it conceal?

In the police field, and secondarily or jointly to the investigation and the matter at hand
specifically to the deaths in the Congress of Translators, another is generated in parallel
aspect, another police cause, which is also directly related to the death and to the
medio ambiente. Dicha causa hace referencia a la muerte, o mejor dicho, a la aparición sin vida de
the sea lions in Puerto Esfinge. At first, and until the resolution of the event, it
such deaths are explained through a supposed natural epidemic that ravages the
place, and for which the animals die. However, and through Guimar's research, then
it is discovered that the deaths were actually murders, caused by Lugo (the caretaker of
people's museum) in collusion with the firefighters, and that, as a chain of crimes,
they cover up another crime. The fact that they conceal these murders is precisely another
murder, but in this case, that of a person. He was a worker from the area, who was
murdered in a drunken brawl and thrown into the sea. And to cover up this fact and more specifically,
the corpse that had been returned to the coast, the killer conspired with the firefighters to hide
the body, and then, to feign the epidemic that would serve to clear doubts in case of possible
witnesses. All of this is reflected more clearly in the following excerpt: "- Where
the Sphinx ends, there are a couple of streets that are liberated territory "(...) Ten days ago, one died in
a fight or in a settling of scores; the owner of one of the shanties, drunk, threw the body into the water
near the coast(...)This man asked the firefighters to take care of the matter(...)they invented
the epidemic as a distraction: this way it no longer mattered that they were seen.”(P.140)

THIRD PART: ARLEVEIN

Develop a thematic outline using the narrative cores as keywords that are
They propose. First, arrange the ideas from the list and complete the outline.

-Zúñiga's intervention. Miguel's appearance with the candle in his ears. Doctor Blanes' presentation.
Disappearance of Miguel. Conference. Anecdote (legend). Presentation of the case Miguel.
Demonstration. Miguel's behavior.

Events arranged in chronological order: Conference, exposition by Dr. Blanes,

presentation of the case Miguel, anecdote, demonstration, intervention of Zúñiga, behavior of
Miguel, disappearance of Miguel, appearance of Miguel with the candle in his ears.

Propose a series of no more than seven cores to complete the third part of the text:

Blanes Conference
2. Presentation of the Miguel case and the legend of Arlevein.
3. Intervention of Zúñiga.
[Link] of Miguel.
5. Appearance of Miguel with ears sealed with wax.
[Link] of Rina Agri.
7. Appearance of dying Zúñiga on the coast of the sea

Look for the possible meanings of ARLEVEIN in the text. Write them down.

At first, based on the legend, Arlevein is presented as the name under which
design the boat in which the drowned man travels that the traveler finds on the beach: 'I was traveling in my'
ship, the Arlevein, and a whirlpool swallowed me along with my companions." (P.87).
Then, the word or term is given, more than a meaning, a role, since it is placed as the
solution to a problem, like the answer to a riddle. This is observed in the following excerpt:
Poseidon agreed to bring me back to life only if I find out what the word Arlevein means.
In a textual way, it is defined or said that 'Arlevein means the endless search for meaning.'
of a word.

Extraigan diez vocablos de la leyenda que se relacionen conceptualmente con Arlevein.

Prisoner: this word is directly related to the conception of Arlevein, since the
The incessant search for something poses, for the one who undertakes it, a kind of prison or jail in the
which is found until unveiling the mystery.
Boat: it is directly related to the first conception or with the first meaning given to it.
to Arlevein, since in an initial definition it is established as the name of the boat in which
the drowned man traveled, imprisoned by Poseidon.
Poseidon: for us, this term is related to the conception of Arlevein, at least of
indirect way, since it gives the legend a mythological aspect, allowing it to contain
elements, situations or scenarios that do not fully respond to reason.
Enigma: this term has a direct or close relationship, since the second conception given to
Arlevein is the one from the container, precisely, of a riddle or enigma.
Meaning: it is strictly related to the meaning and conception of the term, since the
It refers to the search, precisely, for a meaning. It is the word or the 'element'
what is sought in the legend.
Response: in relation to the named enigma.
Word: related to the previous answer. The solution to the riddle lies in finding the
response, the meaning of a 'word', which is Arlevein.
Endless: it is the adjective that gives the answer an ironic character, which transforms the search
in something infinite or unreal, something that cannot be achieved, thus posing a supposed riddle without
solution.
Improvisation: it is the form or method by which the answer to the riddle is obtained.
Search: it is the action that drives the resolution of the enigma, the means to achieve salvation.

Play with the word Arlevein by breaking it down to find hidden words. Do it.
a list. Indicate the relationship they have with history. Did you find any word that suggests
Death? Which one? Why?

Vela: it can be related, or at least assumed to have a relationship, with the ship of the legend. Furthermore
It can also refer to the candles that Miguel uses to then cover his ears.
Valner: is directly related to the story, as he is a character from it.
Rina: is directly related to the story, as she is a character in it.
Reveal: this word perhaps holds a relationship with the entire history. It can be traced back.
interpretation or a definition and to say that translation, in general aspects, reveals or gives to
to know things that, without her, would be incomprehensible.

There are, at least in the words that we were able to find, two words that suggest
death in a direct and almost obvious way, and they refer to two characters from the
history, Rina and Valner. This is because, precisely, these are the two characters that die.
in the development of the novel, and those who in some way initiate and unfold the police plot of the
same.
FOURTH PART: Acheron

Certain data is revealing the mystery of the deaths. However, it is not the police who ...
find the appropriate clues in each situation. In characters like Valner, Rina, and Zúñiga
Two key clues coincide to understand the story. What are they? Who or whom?
do they warn?

The key clues found in the characters related to the language of Acheron, and
which are key and crucial to understand and comprehend the logic of history and the ending of the
the same, are given by two facts that characterize the named characters, that is, Valner,
Rina and Zúñiga. The first fact is that in all the characters, the presence of is discovered.
a nickel coin under the mouth at the moment of death, or when one is close to it,
according to what the legend of Acheron indicates and the payment to Charon. The other fact or
a characteristic that is commonly presented for these three characters is that it refers to that
everyone was immersed or related in the same group dedicated to the study or the speaking of a
language that was unknown to everyone. Who notices this data, which then triggers
The explanation of the deaths is from Blast, the protagonist of the story, who through his intrigue goes
revealing and deciphering little by little the logic and the rational explanation, to some extent, of the
deaths, although they occur around a cause that escapes such reasoning.

Miguel commented at one point: 'It's time to start translating.' What meaning does it acquire?
so the word translate?

In this case, based on the proposal or the statement made by De Blast, the word translate
acquires once again another meaning that escapes its definition or its previous conception. In this
In this case, the word translate refers to deciphering, but not necessarily words or languages, rather to the
decipher and interpret the facts, the data, the clues, and the hints that up to that moment he/she possessed,
In that way, to be able to explain or find meaning in the deaths that occurred in Congress.
It refers to a deductive aspect of the word, to a research aspect of it.

Explain who is involved, according to investigations, in the deaths that occurred.

According to the investigations and the clues that can be obtained in the police field and, above all, in the
the plot of De Blast, there exists essentially and distinctly only one character that is
clearly culpable for the deaths of Rina and Valner, as is Naum. This is so because of
Blast, upon entering Rina's room, finds a letter that changes the thread and plot of the story.
thus unveiling the mystery or the enigma of the deaths. It confirms the presence of a group
formed by Valner, Rina, and Zúñiga, in which they debated a secret language that could have
direct implications with death. But the fact that is directly incriminating towards
Naum, it is evident in that letter, which is written by him, his presence, his command and his
control over that group, which potentially and automatically exposes him as a suspect for the
deaths occurred.

Make a portrait of the police officer. Incorporate the personality traits that appear in these chapters.

Guimar, who is the commissioner of Port Esfinge, appears from the first.
death that occurs in Congress, that is, when Valner's corpse appears. At all times it is.
presents herself as a person with confidence in most of her actions, and without too much ostentation
of them, but with a reservation of their activity. This latter is observed, for example, in the following
(...) they spoke in a voice too loud but at the same time in the most confidential manner possible,
with half words and implied meanings." (P.50).
He appears responsible and committed to his work, but with some fatigue or annoyance with it.
he sees it as someone who carries out the police investigation at all times, although he is not the one who conducts it.
the advances nor the clues.

Mention, in order, all the data provided by Naum.

1. As first and how more relevant or important, Naum confirms the existence of a group
dedicated to the language of Acheron and its presence or control over this.
2. It clarifies or explains what the language of Acheron is and unknown aspects of it.
3. It mentions the existence of a Greek student who introduces him to the language of Acheron, and
who is also the first known victim of it.
4. Clarify the implications and the downsides of knowing the language of Acheron.

Develop a hypothesis about the use of the language of Acheron.

The use of the tongue of the Acheron, based on the final revelations and the outcome of the book,
it is, in itself, quite an interesting irony or utopia. Basically, it contradicts itself in
essence, since the fact that confirms its existence, that is, the fact that it is spoken,
immediately leads, according to what can be observed, to the disappearance of that evidence, since
Whoever masters the language and exercises its use is driven by its forces to death. From this
From a point of view, the language of Acheron seems rather contradictory, at least.
Likewise, it can be said or pointed out that language is meant to be a secret, since the
the revelation of it leads to an inevitable end, such as death. In this way, it can
to say that it becomes impossible to master the mystical language, since it is the one that has mastery over
about those who know her, and it becomes impossible to change that relationship of dependence, since if one
try to do it, you reach the limit of death.

Miguel de Blast, professional translator, is one of the guests at a congress.

about the translation in a small village on the coast of Argentina. Some
The guests are very interested in the translation of lost languages.
like the language of the world before the Tower of Babel. A series of deaths
continue. Who is responsible?
Bibliography
The novel is very entertaining. It manages to maintain a sense of suspense throughout.
Long of the book and create a series of pieces of a puzzle without the reader
to know what the pieces are, much less how they fit together. It's worth reading.
The book was a finalist for the Planeta Prize in 1997.
Hey, in the nearby characters of De Santis, in the contained emotion, in the
elegant and dry prose, with thin layers of humor, a tone that places it in the
mejor narrativa argentina. La traducción resultó Finalista del Premio Planeta
1997.
Miguel De Blast, translator, married, forty years old, detective and suspect.
time, it will follow the only possible tracks: when one is attentive to a
woman, disregard the rest of the world. That woman is Ana, who has arrived at the
Congress along with Naum, a renowned linguist. Fifteen years ago De Blast
he loved Ana; fifteen years ago, he and Naum were colleagues and rivals. Now love
it is the perfect excuse for hatred.
Like a discreet magician, Pablo De Santis has turned language into matter of
fiction and has written a love story, a detective novel where the words
they become facts, in front of or behind the gaze of the reader.
Pablo De Santis is an Argentine writer (Buenos Aires, February 27, 1963).
She studied the career of Literature at the University of Buenos Aires and worked as
journalist and comic book writer. He published the album Puzzle (1995), which
it gathers a part of the comics he made with the artist Max Cachimba for
the magazine Fierro of which he was Editor-in-Chief. He is the author of more than ten books
for teenagers, for which he won the Konex Platinum Award in 2004. His
first novel, The palace of the night, was published in 1987; followed by
["From the fish's eye","The shadow of the dinosaur","Nightmare for hackers","The last one"]
spy, Lucas Lenz and the Museum of the Universe, Encyclopedia in the bonfire, The
carnivorous plants and mixed Pages, all of them works aimed at an audience
youthful.
A ghost town on the Argentine coast. A devastated, almost abstract place,
where sea lions die due to a mysterious epidemic, and where
other darker deaths take place: all the corpses near the water, with
a nickel coin out of circulation under the tongue. As if by irony
of fate, the guests at the congress on translation in Puerto Esfinge
they will confront the interpretation of these signs, and will see them turned into reality
his most unconfessed dreams: the study and passion for language can have
tragic consequences.

Characters[edit]
Miguel de Blast, protagonist, translator.

Elena

Naum

Ana

José Cantú Rivera

You
Ximena