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57 pages 1 hour read

Love in the Time of Cholera

Fiction | Novel | Adult | Published in 1985

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Section 6Chapter Summaries & Analyses

Pages 274-300 Summary

Fermina Daza is enraged at Florentino Ariza’s proclamation. She struggles to find herself as she reconciles her old life with her husband, and she realizes that in becoming a wife, she lost her identity. Finally, after three weeks of pent-up rage, she sends Florentino three pages of insults. He replies with a typed treatise of his philosophies on life, death, and love.

Meanwhile, Florentino tells América that he is going to marry. She does not believe him, but she becomes deeply jealous when he neglects her on the weekends and begins to pass her off to the servants. Fermina Daza never replies to Florentino’s letters, though they help her manage her first year of widowhood. Florentino ambushes Fermina Daza at Urbino’s one-year memorial, and she tells him that she is grateful for his letters. He replies with a note of gratitude. One day, Florentino appears at her door, and she allows him in; while he waits for her, he has an attack in his bowels and he rushes out the door after they make a date for two days later; in the coach, he relieves himself. His coach driver says nothing except to “[b]e careful, Don Floro, that looks like cholera” (300). 

Pages 301-324 Summary

Florentino Ariza returns to Fermina Daza the following Friday, and the pair have a long and comfortable conversation, though they avoid the subject of love. He returns each Tuesday for the next four months and finds support from Fermina’s son, Dr. Urbino Daza, who is glad his mother is not lonely. Florentino Ariza breaks his leg on a staircase while leaving lunch with Dr. Urbino Daza and has to wear a cast for sixty days. During that period of time, he and Fermina Daza bond over letters once more.

While he is convalescing, Fermina Daza suffers from deep humiliations—a local paper reveals a life-long affair between a good friend and her husband, and soon after this revelation, the paper publishes an expose on her father’s life of swindling, counterfeiting, and arms dealing. She has no place to store her anger with her husband and her father: “She had a quarrel with a dead man” (317). At the same time, Ofelia, Fermina Daza’s daughter, is troubled by her mother’s burgeoning relationship with Florentino Ariza. When Ofelia confronts her mother, Fermina Daza has her thrown out of the house. In her grief and rage, Fermina Daza finally decides to go on a riverboat outing, and Florentino Ariza surprises everyone when he joins her in secret. The pair set out on the river, watching the scenery in comfortable silence. 

Pages 325-345 Summary

Neither the journey nor the river is as the couple expects. Little to no wood to fuel the burners is available because of deforestation, the manatees are now extinct, and the river is low and sandy from erosion. Despite these disappointments and the appearance of Dr. Juvenal Urbino’s ghost, who bids Fermina farewell, Fermina Daza and Florentino Ariza enjoy their journey. They hold hands and eventually make hurried love, despite Florentino’s erectile dysfunction and their own reservations and nerves.

On the voyage up the river, Florentino Ariza receives word via telegram that América Vicuña has failed her final exams and taken her own life. He is too afraid to admit his role in the death of his young lover. On the journey back to the city, people familiar to Fermina Daza board the riverboat and she panics, unable continue her adventure among people who know her history and her recent widowhood. When Florentino Ariza asks the captain for a solution, the captain suggests they fly the cholera flag. The flag flies, and all passengers are removed from the riverboat except for Florentino, Fermina, the captain, and his own lover. They sail through rain and they see a majestic manatee and her cub; both couples are deeply happy: “love was always love, anytime and anyplace, but it was more solid the closer it came to death” (342). Finally, they arrive in port and learn they must be quarantined. The captain is unsure of what to do next, and Florentino Ariza suggests they sail back up the river. When the captain asks how long they want to undertake the madness of coming and going up the river, he replies: “Forever” (345). 

Section 6 Analysis

The final section of the novel is defined particularly by the return of cholera as a symbol of love. As Florentino Ariza and Fermina Daza finally consummate their love, they find a safe haven in flying the cholera flag over the riverboat and preserving their isolation by pretending to be infected with a fatal pestilence; to them, this ironic subterfuge is the only way they can avoid the world and its judgments and preconceptions, and live together in their love. This use of the symbol at this moment is particularly important because cholera is, in many ways, a relic of the past. Urbino and his father, for example, had committed their lives to the ridding the city of the fatal disease. This symbol of their love allows Fermina and Florentino to go back in time and relive their love in old age, with the blessing of Urbino, whose ghost appears to say good-bye at the start of their river journey.

When they are finally able to engage in their romantic affair, Florentino and Fermina’s experience a love that is more authentic, though less thrilling than the passions of their youth. They find companionship in one another, which is another kind of love, one of shared histories, shared nostalgia, and present-mindedness. It is a fleeting love, because death is nearing, and one without expectations, unlike marriage or a love affair.

Finally, América Vicuña’s suicide shapes this final section. It is the last death of the book, and it bookends Jeremiah de Saint-Amour’s suicide at the beginning of the novel. América Vicuña’s death is a reminder of the looming fate of all characters, and also the ever-present nature of suffering, even in the throes of love. It also speaks to the connection between love and grief in old age; though Fermina and Florentino find solace in love, they each nurse their own, individual griefs, confirming that one cannot exist without the other. 

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