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In the novels Frankenstein in Baghdad and Chronicle of a Death Foretold, Saawdai and Marquez present the concepts of "good" and "bad" through themes concerning death. Still, each author determines if death is "good" or "bad" based on the dialogue used within their characters.

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In the novels Frankenstein in Baghdad by Saadawi and Chronicle of a Death Foretold by Marquez, the authors identify "home" as a physical place that fosters a comforting emotion; therefore, the characters experience conflict when protecting it; however, each author uses varying characterization factors to recognize the missing emotion, then the characters each literary work do not recognize that place as their "home."

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Broad: In both novels, death is constantly talked about when the themes of vengeance and the bystander's event are referred to as a "bad thing" by the authors.
Narrow:

In Chronicle of a Death Foretold, Marquez identifies a leadership figure as Colonel Aponte retaining his status as a "good" moral citizen with power.

Connection to the text: Colonel Aponte comforts the twins (dialogue) and throws away their knives to stop Nasar's killing.

While in Frankenstein in Baghdad, Sadaawi establishes a relationship between the theme of vengeance and death.

Connection to the text: Therefore, the deaths that have vengeance are linked to them in a way Sadaawi considers as "good" since it follows the wishes of the deceased.

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Broad: However, each author determines if the outcome of death is "good" or "bad" in their respective text based on dialogue.
Narrow:

Marquez only recognizes Colonel Aponte as the character against the bystander effect. Still, with the second interaction with the Varcario brothers' second attempts to kill Nasar, making him a corrupt figure, he no longer supports/stands for justice in the community since he gave in to the bystander effect.

Connection to the text: He backs down in confronting the twins claiming (dialogue) that he did it before and made himself busy so he can not comfort them immediately.

In the story's climax, Sadaawi asks, "what truly makes a criminal?" by Whatitsname followers, which stimulates a reflection period if the initial goals of killing had remained true and to what extent these goals are present "today" (in Whatitsname timeline).

Whatitsname learns the boundaries of "good" and "bad" have been blurred, making it hard to identify if his intention was accurately met since he started killing with a "good" reason but manages to become a "bad" thing.

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In the texts Chronicle of a Death Foretold and Frankenstein in Baghdad, authors Marquez and Sadaawi explore the role of female characters receiving unequal treatment while having different characterizations for each female character.

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Broad: Women in both texts receive unequal treatment when the authors set their story in a traditional society.
Narrow:

In Chronicle of a Death Foretold, Marquez highlights how women are deemed lower by men using dialogue, explaining their problems hold little value when compared to men's

Quote: "It looked to us like women problems" (Marquez 34)

In Frankenstein in Baghdad, Sadaawi, a female film director Nawal is in a romantic relationship with Saidi

Connection to the text: For Nawal's career to grow, Sadawi identifies a conflict she has with Saidi. She must rely on Saidi for exposure to have a professional life while damaging her personal one.

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Broad: Each author uses different characterizations for each female character in their corresponding text to have them perceived irrationally.
Narrow:

In Chronicle of a Death Foretold, Marquez emphasizes young women who devote their lives to "pure" themes such as Christianity are seen to be meek.

Reference to the Text: nun women are compared to orphans. The connotation of orphans: is lost, young, without guidance

While in Frankenstein in Baghdad, Sadaawi characterizes Nawal as a sly radical woman. In turn, she tricks men into wanting her.  Making her intentions unclear.

Reference to the Text: Muhammad is in a trance and stumbles his speech when he is with her. He has the desire to grab her when she is in close proximity. However, she is seen doing scandalous things like smoking and wearing eye-catching clothing (characterization).

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Broad:
In both texts, each character shares a love for a physical home through conflict because it symbolizes prosperous times for that individual.
Narrow :

In Frankenstein in Bagdad, Sadaawi shows the conflict between Alishva and the realtor Farajal since Farajal is after her home. Alishva refuses to sell her home because it is the only possession that reminds her of her deceased son.

In Chronicle of a Death Foretold, Marquez shows the conflict between the widow and Baynardo. Baynardo is set on buying the farmhouse to become his new home once he marries and tempts the widow by offering large quantities of money. The realtor refuses because his house symbolizes his life with his deceased wife.

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Broad:
Both authors use different characterization techniques in regard to change of ownership and recognize the missing sentiment of a home making it collapse.

Narrow:

After widower Xius gave his home away to Baynardo, the house still remained peaceful (an example of the text includes the positive connotation of "happy farmhouse" (Marquez 67). But as the marriage began to have a rocky start, "the house crumbles" (Marquez 87), meaning the home contains positive and happy memories. But when others ruin the preexisting environment leads to the home corroding.

Alishva was deceived and drawn away from her house since her son returned from war. Before she departs in the falling action, she takes out her scissors, cuts the angel's face out of the tapestry, and takes it with her (characterization) with subtle and precise cuts, making a perfect circle of the angel's face. Essentially she is taking her long-term companion, who she deeply believed would bring her son back, and the angel fulfilled the promise. Therefore she has no reason to clutch onto her home.

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In Frankenstein in Baghdad and Chronicles of a Death Foretold, both authors identify their characters falling in love with concepts such as religion and perseverance through dialogue, which changes the outcomes of the protagonist as the story proceeds. However, each author uses imagery to show the degree of acceptance of these concepts within the characters when presented initially to them.

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Broad:
The characters are in love with concepts such as religion and perseverance in their respective text through the use of dialogue which affects the outcomes of the characters.
Narrow:

Quote: "Leave him for later, if only out of respect for his grace the bishop." (Marquez 16)

This quote used religion as a buffer between the Varcario twins and Nasar's death. The characters in the novella show their love for Bishop (who represents Catholicism) and choose to hold on to his death, which changes the story's overall plot.

-In Frankenstein in Baghdad, Sadaawi identifies the concept of obsession with advancing, especially in a difficult situation.
Reference to the text: His boss calls him a sapling that will become a strong tree.
Muhammed did anything in his power to continue to receive higher positions in his journaling career. The given praise results in reporting about Whatitsname and his crimes.

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Broad: The authors Marquez and Sadaawi use imagery to show the initial acceptance of these ideas of religion and perseverance in their corresponding text.
Narrow:

In Chronicle of a Death Foretold, all the citizens were accustomed to Catholicism due to their upbringing. There is no one questioning the validity of the religion. That is why everyone is in a "festive" mood and eager to see the bishop.

In Frankenstein in Baghdad: Muhammad questions his career and purpose as a reporter.

Reference to the novel: Sadawi presents his restlessness by describing the day as "hot" and "sticky," which makes Muhammad locked up in his hotel room as he has Whatsitsname tapes in his possession.

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In the novella Chronicle of a Death Foretold by Marquez and the poem "I Like it When You Are Quiet" by Neruda, the interpretation of the works differ due to the clash in largos with current audiences and the intended audience (the text was initially meant for) in regarding the overarching theme of arranged love.

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Broad:
Neruda and Marquez's initial audiences accept and welcome the theme of arranged love due to its positive/reassuring connotations.
Narrow:
-Neurda's love poem was published in 1924. The poem has elements of a love poem due to the positive connotation of the words.
Quote: "I leaned to kiss you" and "a butterfly in my dreams, you are my soul."

Meaning: Neruda is in a trace with his significant other; that woman is meant for him.

- Marquez presents love between Angela and Baynardo with the endorsement of Angela's parents with affirmative dialogue. The parents accept Baynardo because it aligns with the social standards of 1951.

Quote: "You learn how to love."

Meaning: Although Angela does not love Baynardo now, his fortune will bring value to her and her family (socially and economically).

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Broad: Once these texts are read now, these two authors' established idea of love does not resemble the characteristics of "modern" love, therefore the authors are missing the pathos.
Narrow:
-Neurda use of repetition and first-person narrative stimulate the reader to conclude as Neurda is a possessive person in a relationship.

The repetition of "I like it when you are Quiet" in each stanza dehumanizes the woman from a human being to an object.

"A world then is sufficient, or a simple, to make me happy". Neurdua's choice to include "me" identifies he prioritizes his need and his wants in the relationship. He does not care about the wants or needs of his significant other.

- While Marquez's previous remark of "you learn how to love" can now be interpreted as obnoxious and undesirable in Western/Individualistic society because Angela can be categorized as a "gold digger" by taking the "easy" way out and receiving monetary support from her husband when other options (in Western/Indivisualitc society) a woman can receive education or option to migrate to a different area that will provide her support in a new lifestyle.

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Sadaawi and Neurda's backgrounds influenced their respective texts by using their ideas to dictate the common themes of destruction and fear in Frankenstein in Baghdad and the United Fruit Company, using different textual characteristics (relating to the specific text) that support their contrasting purposes.

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Broad: Shared theme of destruction and fear by providing symbols.
Narrow:

Sadaawi shows the commonality of discussion and fear in a war-torn country (hence the story's setting because Saadawi was present during the Iraqi War lasting from 2003-2011) by utilizing Whatitsname as a symbol of the chaos because destruction and fear are always around him.

Nedura incorporates the themes in the United Fruit Company by referencing someone and following up their name with "the fly". This term has a negative connotation because flies are gross insects that follow dead or rotting things. Death occurs later in the poem when Nedura talks about the death of an "Indian" gruesomely. These interpretations align with the setting as well. Chile (the country he's from) is a major export of fruits; therefore, flies and workers are an inevitable part of the process.

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Broad: Sadaawi and Neruda have different purposes, which stream from their own personal experiences and ideologies.
Narrow:

Sadaawi creates a character that represents himself in the novel. He makes Muhammad to be a reporter during the war. Saadawi was a conflict reporter during the Iraqi War. With these gory and hearing experiences he lived through, he decided to make a novel that captures the emotions felt by the citizens and himself.

While Neruda is a communist and a socialist therefore, in the poem, he mentions major cooperations such as "Ana Conda, Ford Motor, and Coca-cola Inc." to be harmful to citizens because capitalism ruins a townsman's ("Indian") life. Neruda supports the socialist approach to government, in which individuals are appreciated and cared for equally under the government. That there is no major cooperation taking advantage of the people (death of the Indian with flies being near) and turning their natural goods into marketable products (Juxtaposing the cultivated fruit by describing them as "sugary hells" because they are a product of capitalism).

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The formal characteristics found in unrealistic genres such as magical realism (Chronicle of a Death Foretold by Marquez) and fiction (Frankenstein in Bagdad by Sadaawi) both allow the authors to create unique situations for the characters; however, the chosen genre may stimulate the reader to have a different interpretation.

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Broad: With magical realism and fiction as the chosen genre of the texts, Marquez and Sadaawi can create unique situations for their characters.

Narrow: specifically when the authors commonly explore the theme of punishment when expressed through dialogue and connecting with the nose.

In Chronicle of a Death Foretold, Marquez punishes the Vicario brothers after killing Nasar by giving them torturous life as they sit in jail.

"No matter how much I scrubbed with soap and rags, I couldn't get rid of the smell [Santiago's scent]."

-Pedro Vicario (Marquez 78)

Sadaawi also refers to the idea of taking body parts from many people, and Whatitsname must gain vengeance for them because that body part has synthesized him, and he must honor it. His creation initially started with a nose and then his drive to gain revenge

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Broad: There are different interpretations the audience can have based on the genre.

Narrow: in regards to conflict, challenges the narrative.

With magical realism, Marquez parallels the genre with the use of an unreliable narrator, which stimulates the unsynchronized timeline that occurs throughout the book.

Example from the text: characters are divided if the day Nasar died was raining or not.

The narrator does not interject throughout the chapters by settling on the weather. He leaves that element a mystery.

With fiction, Sadaawi arranged conflict against Whatitsname by having his minions question his tactics (through dialogue) of killing and his value.

Example from the text: The Magician asked if he would kill an innocent person to Whatitsname, then answered his own question, saying he did kill an innocent person and felt no remorse.

Therefore the reader can question if Whatitsname will feel remorse or not.

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In their respective texts, Neruda and Marquez use figurative language by comparing individuals to foreign entities utilizing imagery; however, based on the denotation of the foreign entity, that is how the individual is perceived.

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Broad: In their respective texts, Neruda and Marquez use figurative language by comparing individuals to foreign entities utilizing imagery to convey compelling narratives.
Narrow:

In the poem "System of Gloom," Neruda, in the opening stanza, states, "big red oxen." Here Neruda uses animal imagery to represent the pain/blood in war, strengthening the pathos of the text (suggesting that Communism will end the suffering)

While in Chronicle for a Death Foretold, Marquez writes, "You could make out the groves of blue banana trees."

Here Marquez uses the element of Natural realism by including the blue banana trees as a transition from one idea to the next, allowing for a structured loop to occur (during a noncontinuous timeline)

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Broad: however, based on the denotation of the figurative language, that is how an individual perceives a foreign entity.
Narrow:

With Neruda, he uses an oxymoron by claiming "like a lookout gone blind." Again strengthening his narrative for pro-communism. If the lookout were communist, he would remain faithful to his job.

While Marquez again uses the idea of magical realism when describing the townsfolk appeal to Baynardo. Claiming he "He is like a fairy." Baynardo is essentially an elevated figure due to his social status and hidden backround.