Juan Rulfo silenciero
Juan Rulfo, silenciero
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The Mexican Juan Rulfo escriror
In the silence of memory, thinking about Rulfo, suddenly bursts a word, a mere onomatopoeia: Boom! The next reflection is an image: a hodgepodge of writers who do not respond to an aesthetic, or a generation, no less an, to a mandatory escolstica. No, Rulfo rengln not fit the historical construction of large-sociolgicas Fuentes and Vargas Llosa,, wow power leveling, or the fantastiquera gigantomquica of Garcia Marquez, or the neo-baroque culteranismo Sarduy Lezama and it is not fatally urban and Borges, Sabato and Onetti, but also inherits the rural wilderness of regionalism in desrticos aquerenciara scenarios, perhaps Jalisco. So In his stories are evocations of the Cristero war, but someone will be able to catch sb revolutionary document that postrimera between, wow cheap powerleveling, the spectra of Comala
The novel of the Mexican revolution bean and its course when Rulfo show the two titles of his strict and Olmpic catalog. In general, the tellers issued what we may call an informal voice of the revolution, with a rather more pessimistic balance between Azuela and the early Guzmny Martn Luis Fuentes of The, everquest 2 gold, Death of Artemio Cruz. All told stories, rows of episodes leading to unhook a conclusion: the revolution was a change of ladies. Vasconcelos, however, opt for the archetype: the revolution is the return of Huichilobos, the bloodthirsty Aztec god, convenor of a town in the height of the sacrificial pyramid. Mexico must comply, for below, the duty to restore law and Catholic Spanish, if possible under the conduction of own Vasconcelos, and if not, put up Obregn.
Certainly, in Pedro Paramo mythical elements can be
Certainly, in Pedro Paramo may be mythical elements: the search for the father who legitimated the taxable subsidiary and declare the law of the community, the dead to tell the life evoke Faulkner's As I Lay Dying and The buried , Mara Luisa Bombal, the bastard running the patriarch, the sower of bastards, as among the Karamazov. But myths are stories, responding to a structure that kept cclica and repetition capability. In contrast, perhaps novel, as has sometimes been defined, treated with the technique est a string of stories, such as those in El llano en llamas. Life is a messy accumulation of moments, pieces of spare parts. Each rosary bead is equal to demsy can replace each other. The text is left to the reader as a puzzle whose figures can fall to the ground and that must be met under the same reader will be able to.
God will come
Of course, if the dead tell the story because they do not resign themselves to be dead. There is, strictly speaking, past, and l, no history. Rulfo The challenge of telling a story as possible text but non-existent as such, or as a rrence. And he wins, strength of an economy that makes perfect narrative of the fable incentidumbre in a model of structure.
Why do the dead still hacindose Rulfo and emit the living coral vocalist in the vacuum of the text There is, of course, a voice that is imposed nor a silent choir director, owner of the discipline. Octavio Paz, with his usual accuracy, says that this book describes a purgatory. SERN ever find these sinners forgiven their sins. Dir God will come and the truth of what happened. But there is no God and priests who invoke it are some liars say.
Is this a picture of the human condition, native of that failure can correct any Universal History Question lies in the universality of literature Rulfo theme. It is so sharp and so confidently resolved est formal proclamation of the uncertainty that anthropological, that only silence can epilogue. Indeed, when the explosion broke out to an avalanche at the beginning, ten years hacams Rulfo bean stopped writing. Poda have died around 1955 and his work will stand as now. Voice from beyond the grave, seems emitted by one of his characters. Rulfo and 1985 continued to really like the Grand Chingn and Juan Preciado, or Susana San Juan.
Devoted himself to photographing their familiar landscapes, mineral filled the hollow of his stories
Taciturn, slightly flamboyant, retiring a word, devoted himself to photographing their familiar landscapes, filled the void desrtica, mineral, windy and dusty in their narratives. Occasionally issues statements politically correct, identifying the civilization of evil and the good messianism. Never reached the limits of his fabled world, metaphysics pessimistic, just softened by the tenderness of the confession.
There are so many of his gestures actually confessional moments, but these people who regret having done something wrong, or being for it, or believe you did not know that culture has violated law or authority to qu leg esteem admits his guilt. It is as if he had come to that limbo of purity where Paz fault purgatorial see a picture.
Safe to say that despite being dislocated, there is a sort of community Rulfo theme, which still does not become a society by the lack of an explicit code. At least, that people are pleading guilty and seeking owe something to the others. Demand forgiveness or at least compassion. At this point, the reader-risk it is moved back-and becomes similar to that population. I, us. It matters little that we were born in Mexico of the almanacs revolutionaries. We are in the world and Rulfo, surly and reticent, help us today as yesterday and tomorrow, to understand.
