A hundred anniversary of his birth, José María Arguedas stands as a writer who has best known how to interpret the changing and harsh reality of Peru. Their legacy is invaluable. José María Arguedas a writer was struck by the reality of his country. Suffered and wrote for him and for him. Despite knowing very much loved by intellectuals, artists and writers of his generation, he was someone very strangely helpless. Arguedas
's life is the epitome of the life of a part of the country: the indigenous Andean world, this world so dear and cherished in which sometimes felt split in two and to which, however, was able to interpret so so authentic and endearing. The author of the fox and the fox up and down is par excellence, the Peruvian writer of Peru.
poetic vision with the everyday reality faced led him to write marvels, but also predisposed him to suffer. Sensitivity as sharp as he was unable to endure the depths of the human condition in which they lived their peers.
Besides the moral and physical abuse he received as a child, his life was indicted for happy trails and dramatic. Some people remember a singer Arguedas huaynos and a great dancer, just as there are others that we discover a writer tormented by personal demons. Again and image converge the story of a wounded Indian. Arguedas was, as the poet Luis Hernandez, a solitary man we have learned to love the way he loved to Peru: pure and sincere.
A hundred years after his birth there are many myths and misunderstandings about his work and personal life. On the one hand, we face the folly of Arguedas with Vargas Llosa, unaware that they constitute two different ways to see Peru. And, secondly, are the statements that emphasize the writer mistreated by her stepmother and her lover to suicide unable to heal with the power of love. Best of Arguedas, I think, is his passion for a country perplexing and poetic vision that fueled his writing.
DEEP RIVER: THE EPIC OF THE MAGIC AND THE ROUGH wrote many books on various subjects, without a clutch I think there is one where all his wealth poured best interior: Deep Rivers (LRP). This novel marks a very important period in his life not only for its content is essentially autobiographical, but also the aesthetic achievements made and, above all, for the invention of a language that combines the simple with Castilian Quechua Indians of the Andean world .
Deep Rivers was first published in 1958. It is perhaps his most known and loved, as well as the most swiped at first critically. This is recognized by Angel Rama, "Deep Rivers is a ledger in contemporary Latin American narrative, and if critical discourse Peruvians took 20 years to place the site at the point that fits within the letters of the country, critical discourse Latin America has led many others to recognize their uniqueness, but can still be said to have been give the job was not discussed
Pedro Páramo, Hopscotch
a,
Fictions,
Hundred Years of Solitude or Great
Trails Sertao .... "
who has studied very closely and great calling the peculiarities of this novel is Ricardo González Vigil. His critical edition of LRP is an important contribution, almost insurmountable, to the knowledge of the novel Arguedas. The book includes a dense and lucid essay in which values \u200b\u200bthe novel from two angles: the acculturation of Arguedas and dismantling structural and ideological text.
González Vigil asserts that Latin American criticism has "forgotten" the merits of the Peruvian novelist purely cultural reasons "(The problem) ... comes especially, the intensity and complexity with which Arguedas inserted elements of Andean culture (mentality mythical - magic with Christian syncretism, quechuización English, oral tradition linked to the music and dance) in Western cultural forms (including among them the novel genre itself) to a greater degree of acculturation that achieved not only by the other authors to the current Indian or neoindigenism but other major exponents of magic realism .... " Following
Thomas G. Escajadillo, the Peruvian critic located in the neoindigenism Arguedas. In his work distinguishes four major characteristics of this trend, especially in his novel emblematic cultivation of magic realism, lyricism intensification, expansion of indigenous issues and the complexity of technical resources. The first is manifested in the profusion of events and situations framed in terms of the animate and inanimate, in the sensory and spiritual, without any distinction or dichotomous nature.
As for the intensification of lyricism, González Vigil said that LRP is a "novel poematic", linked to the music. Thanks to this, Angel Rama considered as an opera with arias and choruses. In her words, as a musical stream, merge with the sounds of nature (read the chapter which speaks of "zumbayllu"). This process will cost Arguedas "a truly hellish fight with the language" that is, Arguedas "quechuizó" English and literature gave her an expressive vehicle with culture. Rama called this massive undertaking as "the most difficult it has tried a novelist in America." For its part, has compared Alberto Escobar Arguedas effort with that of Dante in Italian gestation.
For the two remaining elements, the complexity of technical resources Gonzales Vigil and others, argue that in the 60's, neoindigenism (or regional) were considered by some writers of the boom (Fuentes, Vargas Llosa, Cortázar) as "anachronistic in technical resources and provincial in its thematic horizon. " Nothing Arguedas offend, even though he declared his disregard for the prevailing novelistic techniques in this decade. However, many diligent researchers have discovered a great technical concern in their creations. Some even celebrate the daring experimental fox fox up and down, which proves that the vitality and visceral Arguedas not contradict the formal writing skills. Ricardo González Vigil has warned the influence of Faulkner in his writing. Argues that there is a similarity between the structure of LRP and of The Wild Palms, capital of the American writer novel in which intersperses stories, voices and narrative resources. It is certainly a pioneer and tracking developer, which throws much light on this aspect.
But the highlight of LRP is certainly the interpretation which made the author of Andean culture in which he lived. In the story featuring the boy Ernesto, who lives in nostalgia and is loyal to the social drama that surrounds it-fuse, so high, poetic and magical elements with brutal and unjust reality. The result is a moving book that reveals the best José María Arguedas, the all the blood and all the roots, the indigenous people represent as a communion of all races and men of Peru.
JULIUS AND ERNESTO: WORLDS LIKE There is a book that keeps many elements in common with Arguedas's novel: A World for Julius
(UP) by Alfredo Bryce Echenique. Both LRP with UPJ are novels that are told from the perspective of a child (Julius and Ernest, respectively) and can be considered learning worlds, stories whose cornerstone is the sentimental education of its protagonists. Both Julius and Ernesto
are lovable characters, prototypes of an existence that is reminiscent at times of Emil Sinclair, the emblematic figure of Demian, the famous novel by Herman Hesse. They also discussed in a divided world, the dichotomy of "clarity" and "shadows", only from a point view less ontological and existential.
Julius, for example, has a world of here, his family and his social class, and a world beyond: the servants. Ernesto, the same: the world of mistis (or white) and the world of the Indians. The two move in psychological and social spaces that castrated and limit, the two struggle to reach the road to themselves, sometimes with hints of torment, as is the case of Ernesto.
No, I think, Peruvian literature two novels of this magnitude, this screening paradigm. The need to address the same subject, but not on the scale with which they do both novels. It is not free, then, that the magazine Debate recently been considered as the most of the twentieth century. Board, however (although not in the same basket), is perhaps forced or excessive. It's not whether you have submitted both their similarities and differences.
are similar for the concept, the perspective of the narrator, the autobiographical components, tenderness and the creation of an ambiguous reality. They differ in language, vision of reality and life, the social aspect, the amplitude of the worlds narrated and intensity of personal and social conflicts. It is precisely these differences that make the validity and value of LRP.
