The protagonist, Gjorg, has lived his whole life immersed in a world of blood, living as Bessian puts it “deep in death’s kingdom” and inevitably comes directly in contact with it as an unwilling murderer - forced by the ancient laws of the Kanun to step into the age-old tradition of blood feud, and thus begins the ending of his own life (Kadare 69). The concept of a life saturated by inescapable death is ingrained in him...
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...t of death, to feel the presence of the others, those of love and happiness. However, in Death and the Maiden, the only world that Paulina knows is one tinged by violence and death, and therefore all that she can see in her world is limited to the vicious revenge she can exact. Therefore, with this darkened and intensely focused perspective she ends up dragging everyone surrounding her along a path towards death. In this sense it can been seen that in Broken April the characters let death shape their lives passively, preferring to call it fate as it is a natural part of the world and regarding it as something strangely beautiful. Yet, in Death and the Maiden Paulina and Gerardo directly meddle with death’s affairs, seeking either to control it or to correct its wrongs. Nevertheless, they are just as caught up in a world of death as Gjorg, Dianna and Bessian are.
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