Narrative Techniques in Chronicle of a Death Foretold

Literary Chronicle and Perspectives

The novel incorporates thriller units including: a motive, murderers, a victim, violence in the execution of the crime, tension, and suspense. This last item holds special significance since it is known from the beginning that Santiago Nasar is going to die. The reason for the death of Santiago Nasar is the only thing the author does not reveal, which departs from the Chronicle of a common crime novel. We do not know if he really was guilty. Maybe Angela accused Santiago Nasar thinking the brothers would not dare to confront him.

Apart from the police work elements, it is a real news story. Aspects of the novel that demonstrate very careful preparation include:

• Structure: It does not narrate linearly but acts as a kind of puzzle, moving back and forth continuously in action.
• Style: It features two styles: a sober, journalistic style and the style of magical realism.
• The model of the tragedy
• The final Feuilleton

Perspectivism and Narrative Voice

From the point of view of perspectivism, García Márquez uses a first-person narrator who dominates the story. He also provides the reader with the basic situation of the narrator: a writer who has returned to town. The use of the autobiographical form is particularly compelling, featuring García Márquez's own sister and father.

Sources and Multiple Perspectives

Several sources provide different perspectives to the narrative:

1. The first is the summary cited at the very beginning of the novel, which is quoted several times more.
2. Another source is the report of the autopsy.
3. The third source consists of the letters regarding the mystery surrounding Bayardo San Román.
4. The narrator also uses his own memories.
5. The most important source characterizing the work is the manifestations of a large number of eyewitnesses to the facts.

Objective Style and Character Variations

The narrator gives great prominence to the many voices that appear strongly. The narrator's point of view is dominant, yet it alternates between indirect witness perspectives and "reliable direct sources." This creates an objective style with variations in the points of view of characters, such as Victoria Guzmán saying she did not warn Nasar because neither she nor her daughter knew they were waiting to kill him. We can conclude that by combining these different ideas, the work becomes truly multiperspectival.