Miguel Gutierrez has published (1991), breathtaking novel "The violence of time" in three volumes, and just before (1988) the beautiful and vibrant fresco is "Man of ways." That same year he published an essay that has become the work of literary criticism more widespread in recent times: "The generation of 50: a divided world." In the latter study, we observed the passion of one who has a conviction, a faith, a social consciousness and thinking philosophy that is not afraid to suffer the test of practice, specific criticism and open to the contemporary literary topics. While the author himself says: "Thought and passion, more love of words: this is the test, invention and passion, more love and strife with the word: this is literature." Male
road reveals the desperate and legitimate violence of the peasants through banditry, that form of popular rebellion so entrenched throughout our territory. But it also shows the other face grim: the presence and incredible repression of the landowners and particularly genocidal use retaliation by the state as present and close echo of current events. This novel, with its vibrant epic beauty, is only part of the long and tortuous history of Villar, the farm family whose core is none other than the suffering of the majority classes in Peru. And not only the sufferings also rebellions, mistakes, victories, disappointments, the hopes.
time Violence breath is impressive. But it is his large extent that matters, but its cast of characters in a constant process and enlightening events in Peruvian history in which they participate. Certainly the novel is an exploration historical, social, psychological, mythical, behavior and consciousness, and also a field of language and technical experimentation. Your are not paragons of Latin America, although we recognize the strong force or a Carpentier Guimaraes Rosa. The relationship is rather the result of Tolstoy's War and Peace , with its sort of historical exploration, in human social and individual, with a mosaic of lives disrupted by war and heroic deeds and disgusting that any violence occurs. And here in Peru, the approach is on the side of Ciro Alegria and The world is wide and removed . In both Tolstoy and Joy, and of course in Gutierrez, the point line is unyielding love for the people, by the immense mass of conscience whose new destination is injured and will be the product of their own hands, his own heroic passion. Miguel Gutierrez
When the magazine ran Narration (important for the Peruvian letters in his search for a literature rich in resources and modern techniques and its affiliation rather than class) advocated realism enriched by new techniques developed in this century. Now this proposal takes unexpected scope and concretions. First, the use of modern techniques and resources of literature, returns to its origin instrumental in convincing proportions. Beyond of its intrinsic literary values, the technical range displayed by Robbe-Grillet, Vargas Llosa, Cortazar, Fuentes mystified or technical use. The new narrative was nothing that human vacuum sublimation and deployment instead of artificial structures and resources. The instrumental nature of these means was obscured, deliberately hidden. The argument or the story was no longer valid as the best form of expression of human events, but relegated to museum pieces that the self-styled postmodern could not tolerate. In contrast to Gutierrez technology (and with it the magical element) and use it demystifies lush and measured only serves to magnify the human fact of literature.
Hence the experiential enjoyment for the epic narrative of the novel seeks to us, is a kind of reminder of the almost physical communication of Dostoevsky. The communication link has not yet deep and tears Dostoevsky, but gains in wealth emotions: rage, anger, laughter, solidarity, in short, a multiple and painful joy that only privileged works are capable of producing. By
technique clarifies the argument and opens to both a range of interpretive possibilities. But the story narrative is coupled to the emotional outcome of events are rare and difficult to misunderstandings. The pleasure is so total, integral, and total (in full on the novel) is the narrative effort to reflect and express the world.
While the novel depicts the story of five generations of the family Villar, family farmers concentrated contradictions, synthesis of a torn and rebel Peru is also an alternative history of the efforts of Martin Villar, the last member of this family hectic lifestyle, to reconstruct the history yet to experience various forms of narrative. The novel is also building its metalanguage and explores its limitations and possibilities. This clarity only points to a realistic path to point to, despite its wealth, the narrow margins fiction versus reality in tumultuous change.
Peruvian history, history that is reviewed and decanted through the novel, the story of the humble men who were able to respond with heroism and dignity to the needs of his time, is not the official story of heroes, aristocrats and petty motivations . Fiction novel presents us with a world apart, different, where the official Peru definitely not ours, nor belong to us heroes or symbols and ideology. Peruvian history has other paths and other destination. Since the presence of tallanes in the Piura, the Incas, English conquistadors, the trustees and feudal lords the Republic of Chile (for whom the aristocracy knelt caring and humble), Ecuadorians and the new owners of the landowner and semicolonizado Peru, the story was a multitude of embarrassments to those who hold and maintain power: military cowardly politicians thieves, corrupt judges, intellectuals, mercenaries, and a mass of hungry, desperate with rage and tragic, his exemplary heroism denied that the official story, hidden and distorted.
not forget that there is a passage in the novel left blank, in brackets, as a symbol of censorship exist in our environment. Revise history, to judge the past is also confronted with future, it will fly, find an address.
In the novel there is a simultaneity of space, the argument is expanded in different eras and cities, whose central core appears to be the concatenation of the characters with certain events. The historic link is not only Peru, is also universal. Perhaps never been seen in Peruvian literature as widely represented space and time are dissimilar. The reason that links these stories is not therefore the mere passion narrative or simple coincidence of the characters and events in these cities. On the one hand, the rebellion of the Tallan against the Incas, the Peruvian man against the English conquerors, the Indians against the trustees and his Republican successors, and Peru against Chile, marks only the pattern of violence and popular rebellion constant throughout our history. But this general form of rebellion finds its historical particularity in what might be called proletarian internationalism as an aesthetic category. That is, the global unity of proletarian revolutions by their common political ideology and its attempt to quash the exploitation of man by man, his close relationship with the person above the objects of creation, and the highest moral able to direct human and create an artistic work sample. And above all, says the historic character of the whole revolution and also of the same failure.
Hence, the events of the Commune of Paris, strikes by workers in the construction of the Panama Canal, the tragic week in Barcelona and other English uprisings of the early century, the Municipality of Callao in Piura and anger and violence of the Peruvian people would, in this historic city, emotional, epic and psychological, the aesthetic category of proletarian internationalism as an expression of a larger social unit.
limitations that could bring to the novel are secondary. One of them lies in the treatment of the characters. Once said Gutierrez that the litmus test for any novelist is to create characters. In Violence time the characters are numerous and their treatment and characterization are too. But the premise remains almost Balzacian a drawing, similar to that practiced SETEFE Zweig to define human types by the passions it away. The type of character whose contradictions are unpredictable and reflect the possibility of conscious change, as the black man Chokeko in road is only one type and not a common feature. Most of the characters on the weight of a tragic fate, a dominant line at a time that enhances so limited. Perhaps destinations Villar Santos and Cruz are the most defined in advance, but so are the Innocent and Primorosa Villar, Diéguez Domitila up (after the death of her suitor), Dr Gonzales and perhaps the narrator Martin Villar. But this kind of characterization through most of the nineteenth century novels (Balzac, Hugo, Sthendal, Flaubert, Dostoevsky, Tolstoy, Gogol, Melville) and part of the twentieth century (Proust, Kafka, Joyce, Faulkner, Hemingway, Carpentier, Guimaraes Rosa Amado).
of rough language, sometimes shocking but vigorous, the novel develops various narrative styles ranging from serious to version splendid irreverent, ironic and festive. But always underlying serious style when it comes to feudal character. Odar figures Seminar Benalcázar Leon, Rodolfo Farfan Lama of the Goths, Dr. Ventura Gandamo and other bluish lineage, despite the aberrations that may be committed, despite the most despicable acts that are running, have an aura of pride, integrity and respect, rather than the reader might reject a practice repugnant product of an ideology, only rejects the act of his particular anger that the character is still worthy of respect.
Finally, these qualifications also serve as building blocks for a more detailed and comprehensive interpretation of the novel. Not free the presence of characters Metz and Bauman (as is also the presence of Galileo successful in Gall War doomsday Vargas Llosa) as a symbol of advanced consciousness and leader. We also see that the characters while closest to the intelligentsia split of practice (as the narrator Martin Villar, Dr. Gonzales, JL Diaz, college buddies) will question his conscience until dark and existential levels. Even the bond and the return of Martin Villar in the bosom of the Community of such harassment does start it seeks to make sense of existential and out of their life. He has realized that only a good man, and does not dare tell yourself that this is not enough that perhaps it is also necessary to organize, prepare, lead men to seek their release.
Finally the novel as a link with our current reality, it serves as an instrument of social reflection, human, magical, historical, psychological and temperamental to become, in the author's words when referring to blood All Arguedas, simultaneously "reflection of reality, aesthetic object with a specific language and structure and expression of world views and ideologies." And, particularly in painful and hopeful expression of the hard times we live.
0 comments:
Post a Comment