: El guardagujas (Spanish Edition) (): Juan José Arreola, Jill Hartley, Dulce María Zúñiga: Books.
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The absurd human is one who recognizes a lack of clear purpose in life and therefore resolves to commit himself or herself to the struggle for order against the unpredictable, fortuitous reality he or she encounters. As the stranger is very interested guuardagujas this, the switchman once again encourages the stranger to try his luck, but warns him not to talk to fellow passengers, who may be spies, and to watch out for mirages that the railroad company generates.
Awareness of the absurd human condition can come at any moment, but it is most likely to happen when, suddenly confronted by the meaninglessness of hectic daily routine, he or she asks the question “Why? He vanishes because he has fulfilled his role as the stranger’s subconscious by not ep asking the Camusian question “Why? Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.
In their view, their elaborate system, which includes accommodations for years-long trips and even for deaths, is very good.
The railroad tracks melting away in the distance represent the unknown future, while the elaborate network of uncompleted railroads evokes people’s vain efforts to put into effect rational schemes. Thus, the stranger’s heavy suitcase symbolizes the burden of reason he carries about, and the inn resembles a jail, the place where others like him are lodged before setting out on life’s absurd journey. He feels that those with authority create absurd laws and conditions in their domain, and their subjects often willingly accept these absurdities, much like ordinary train passengers.
It was republished ten years later along with other published works by Arreola at that time in the collection El Confabulario total. The story, first published as “El guardagujas” in Cinco Cuentos inis translated in Confabulario and Other Inventions The latter comes closest to the most convincing interpretation, namely, that Arreola has based his tale on Albert Camus ‘s philosophy of the absurd as set forth in The Myth of Sisyphus, a collection of essays Camus published in The stranger is warned that if he is lucky enough to board any train, he must also be vigilant about his point of departure.
The switchman explains how the railroad company thinks of their railway system. Why, then, does the switchman vanish at this moment? The image immediately thereafter of the tiny red lantern swinging back and forth before the onrushing train conveys the story’s principal theme: He does not understand why the stranger insists on going to T. The residents accept this system, but hope for a change in the system. The railroad management was so pleased that they decided to suspend any official bridge building and instead encourage the stripping and recreation of future trains.
The stranger wants to know if a train going to T. From Wikipedia, the free encyclopedia.
It seems that, although an elaborate network of railroads has been planned and partially completed, the service is highly unreliable. Suddenly, a train approaches and the switchman begins to signal it. Like most of Arreola’s stories, The Switchman’ can be interpreted in a variety of ways—as an allegory of the pitfalls of the Mexican train system, an existential horror story of life’s absurdities and human limitation, and the author’s desire to laugh in spite of the insanities of the world and human interaction.
When the stranger asks the switchman how he knows all of this, the switchman replies that he is a retired switchman who visits train stations to reminisce about old times.
The old man then dissolves in the clear morning air, and only the guardagjuas speck of the lantern remains visible before the noisily approaching engine.
It has been seen as a satire on Mexico’s railroad guardatujas and the Mexican character, as a lesson taught by the instincts to a human soul about to be born, as a modern allegory of Christianity, as a complex political satire, as a surrealistic fantasy on the illusive nature of reality, and as an existentialist view of life wl Mexican modifications.
Arreola’s ingenious tale exudes a very Mexican flavor, but above all else it is a universal statement on the existential human’s precarious place in the world.
Though some consider him to be a pioneer in the field on non-realistic literature, critics of him felt that social conditions in Mexico demanded a more realistic examination of the inequalities. A stranger carrying a large suitcase runs towards a train station, and manages to arrive exactly at the time that his train bound for a town identified only as T.
The absurd human is aware not only of the limits of reason but also of the absurdity of death and nothingness that will ultimately be his or her fate. The switchman turns to tell the stranger that he is lucky. The stranger argues that he should be able to go to T.
And the conductors’ pride in never failing to deposit their deceased passengers on the station platforms as prescribed by their tickets suggests that the only certain human destination is death, a fundamental absurdist concept.
The “switchman” tells the stranger that the country is famous for its railroad system; though many timetables and tickets have been produced, the trains do not follow them well.
Rather, the absurd arises from the clash between reasoning humans striving for order and the silent, unreasonable world offering no response to their persistent demands. But upon inquiring again le the stranger wants to go, the switchman receives the answer X instead of T.
The Switchman – Wikipedia
In the final lines of Arreola’s story the assertion of the stranger now referred to as the traveler that he is going to X rather than T indicates that he has become an guardaguujas man ready to set out for an unknown destination. The Switchman On one gjardagujas the story operates as a satire on the Mexican transportation system, while on another the railroad is an analogy for the hopeless absurdity of the human condition.
In some cases, new towns, like the town of F.