By Reni Prieto
Miguel Angel Asturias (1899-1974) is without doubt one of the striking literary figures in Latin the United States who within the Twenties contrived either to discover and outline Latin literature in the mainstream of Western background. He controlled to be poetic, political and mythological whilst, and with a level of synthesis not often accomplished then or considering that. As is the case with many Latin American writers, his paintings is inextricably associated with politics, and he lived in exile for a few years. He was once prompted via Indian mythology, delusion and Surrealism and was once the 1st Latin American novelist to appreciate the consequences of anthropology and structural linguistics for tradition and for fiction. In 1967, Asturias turned the 1st Latin American novelist to win the Nobel Prize. René Prieto examines how Miguel Angel Asturias turns to the cultural traditions of the traditional Maya and combines them with the rhetoric of surrealism to be able to produce 3 hugely complicated and commonly misunderstood masterpieces; the Leyendas de Guatemala (1930), Hombres de maíz (1949) and Mulata de tal (1963). Asturias is the 1st American writer to reach portraying an indigenous global imaginative and prescient that's blatantly non-Western. Borrowing quite a few suggestions from preColumbian manuscripts, he creates a brand new kind of literature that continues to be the simplest instance of the cultural combination typifying the Americas. this can be the 1st publication to check those 3 novels for his or her originality past the standard political readings as a rule attributed to them.
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Example text
III, xii). 9 Making "fabula rasa" of surrealism One of the subjects that comes up most often during the tertulias in Montparnasse is surrealism, a magnetic field for all those interested in literary trends and the avant-garde. Asturias maintained years later that he got to know Andre Breton, Tristan Tzara, and Aragon during this phase of his stay in Paris (Lopez Alvarez, 80). What we will never be able to ascertain is what degree of familiarity he really had with these poets. We are sure, though, that in March 1928, while traveling to the meeting of the Latin Press Agency in Havana, he strikes up a friendship with Robert Desnos.
The desire may have been cause for the guilt, but the fiction is clearly its symptom. Lacan used to say, "Joyce c'est ce qui arrive quand on refuse l'analyse"; the same can be applied to Asturias, as we shall see in Chapter 2. Proteus in the streets of Paris The most immediate consequence of Asturias's mythmaking is that most events of his youth are shrouded in mystery; it should not be surprising, therefore, that his biographers disagree with one another and end up contradicting their own statements (Jimena Saenz, truly a mine of information on the author, begins by claiming that Asturias studied law but later in her book correctly reports that he studied one year of medicine before transferring to law school).
What I mean by a "revision" of personal history is simply that the identification with the maternal image brings with it, in this specific instance, an identification with Maria Rosales's Indian heritage. However, in order to create and maintain this identification Asturias needs or, rather, chooses to reject the other side of himself, that is, the criollo, which his father represents. I am fully aware of Asturias's attachment to and admiration of Spanish culture, as well as his ostensible pride in his own Spanish origins.