Reading Guide to Pedro Paramo #2

1. p.23 "Have you ever heard the moan of a dead man?"
2. pp.23-24 Time change: Flashback: Back to rainier days..."Then he heard the weeping. That was what woke him up: a soft (. . .) where his fear lived."
   A. Explain this metaphorical usage.
   B. What has happened?
   C. How does Pedro react?
   D. Take note of this description for later consultation.
3. p.25 Time change: Prospective: To a time prior to the conversation between Eduviges and Dolores's son: The time shortly after the events Eduviges had narrated : The death of Pedro Páramo's son, Miguel Páramo."But not for you, Miguel Páramo..."
   A. What is Father Rentería's attitude toward the deceased?
4. p.26 "I know how you hated him, Father, (. . .) perhaps God has forgiven him".
   A. Comparative versions of Catholicism and power.
5. p.26 "Dialogue" between Father Rentería and his Lord.
6. pp.26-28 Father Rentería and his niece talk about Miguel Páramo.
   A. "[W]hat does it matter if He lifted him to his Heaven?"
7. pp.29-30 The common people speak about Miguel Páramo's death, his ghost, his father, and their own sisters.
   A. "Must be celebrating Miguelito's arrival. . ."
8. pp.30-32 Father Rentería ponders about his ministry and his faith.
   A. "But she took her own life . . ." Who is he talking about?
   B. Comparative versions of Catholicism and salvation.
9. p.32 Time Change: Prospection : Back to Eduviges and Dolores's son. "You're lucky, son. Very Lucky".
   A. What is she alluding to?
10. p.32 "It was during one of those intervals that I heard the cry".
11. p.33 Enter: Damiana Cisneros
12. p.33 An explanation is given to the shout.
    A. "Poor Eduviges, That must mean she's still wandering like a lost soul".
13. pp.33-34 Time change: flashback: To a time just after Pedro Páramo assumes control of the Media Luna after his father's death. The mystery of the hanged man (Toribio Aldrete) is cleared.
14. pp.34-37 Enter: Fulgor Sedano- The old administrator meets the new patrón (boss).
    A. "As you like. But don't forget the don".
    B. The new administration under Pedro Páramo.
    C. "I will, don Pedro, God's truth, I'm beginning to like working with you".
15. pp.37-38 Fulgor wonders about the talent of his new patrón and thinks back to the time of Pedro Páramo's father, Lucas Páramo.
16. pp.38-39 A narrator describes the scene of the proposal to Dolores Preciado.
    A. "And he left her with arms outstretched, begging for one week, just one week".
17. p.39 Dolores tries to get as ready as she can.
18. p.40 Fulgor reports back to Pedro Páramo
    A. "What a baby you are".
    B. "What law, Fulgor? . . ."
19. p.41 The beginning of hotter times.
20. p.41 Fulgor reports anew.
21. pp.41-42 Time change: Back to Dolores's son and Damiana Cisneros.
    A. "This town is filled with echoes": What does this mean?
    B. "So don't be afraid if you hear newer echoes, Juan Preciado".
22. pp.43-46 "Are you alive, Damiana?" and other voices and persons
23. p.46 "Sounds. Voices. Murmurs. Distant singing".
24. p.46 The mother's voice...
25. p.46 "I thought of leaving. Up the hill I could sense the track I had followed when I came, like an open wound through the blackness of the mountains".
    A. Is his return possible?
26. pp.46-47 Juan Preciado is given shelter.
27. pp.47-50 The woman and the man (Donis) are overheard by Juan Preciado as they speak.
    A. "I wouldn't mention it except that when I see him tossing in his sleep like that I
    remember . . ."
28. p.50 "There's dozens of roads..."
    A. How many roads are there?
    B. Are they all of the same sort?
29. p.51 "Don't you see my sin".
    A. What are this couple's sins?
30. p.52 Recalling the bishop's visit to Comala.
    A. Comparative views on Catholicism and salvation.
    B. Divine laws v. Human needs.
    C. An explanation to the village's present state.
31. p.53 "Nothing. (. . .) I understand less by the minute".
32. p.55 "It was as if time had turned backward..."
    A. What to make of this?
33. pp.56-57 "Don't you hear me?": A last attempt at connecting with the mother.
34. p.57 The woman or the woman of mud:
    A. What symbolism may be at work here?
35. p.57 "There was no air . . ."
36. p.58 "That was the last thing I saw."
37. p.58 Rearrange your reality frame!: "Are you trying to make me believe you drowned, Juan Preciado?"
    A. Who is speaking to Juan Preciado in this manner?
    B. Where are they?
38. p.58 "It's true, Dorotea. The murmuring killed me".
39. pp.58-59 Juan Preciado recalls his death in more detail.
40. p.60 Rearrange your time frame!: "I told you at the very beginning . . ."
    A. Go back to Page 1 and compare.
    B. To whom has the narrator been talking? To us readers or someone else?
    C. Are we not by now listening to the voices and murmurs of the dead?
    D. Are we not there, by now, in the Kingdom of the Dead?
    E. Is it at all possible to tell how long have they been dead?
41. p.60 "Now that I'm dead I've had time to think and understand".
    A. What does she understand?
    B. The two dreams of Dorotea.
42. p.61 "The only thing is that probably I should have my arms around you".
    A. Finding the mother?
43. p.61 "Try to think nice thoughts, because we're going to be a long time here in the ground". 61-64 Time change: Flashback. Pedro Páramo's life and times. The good years; Miguel Páramo
44. p.65 "Those people don't really count".
45. p.65 Time change: Prospection. Juan Preciado and Dorotea in their grave Getting acquainted
46. p.66 Dorotea: "For me, Juan Preciado, heaven is right here".
47. p.66 Juan Preciado: "And your soul? Where do you think it's gone?"
    A. Attitudes and beliefs concerning:
    l. Life
    2. Death
    3. The afterlife
    4. The soul
         a. What is the state of these voices?