By Nicole Caso (auth.)
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Extra resources for Practicing Memory in Central American Literature
Sample text
While on the surface Pedrarias claims to defer respectfully to the written mandate of the Spanish crown and kisses the document with reverence, Cardenal notes in parentheses the fact that he did not follow the royal orders: “(pero no la cumplió),” “(y no la cumplió)” (Cardenal 24) [“(but he did not obey),” “(and he did not obey)” (25)]. Clearly, there is no exact correlation between the official instructions in the written document (what Pedrarias claims that he will do) and his subsequent actions.
At the same time that Cardenal documents the painful, failed paths of history (like this one in Veragua), he signals the way for a new path, beyond the hardships and disappointments of the dubious strait already traversed. 13 It must, however, be noted that Pound’s poetic voice is informed by his fascist proclivities, while Cardenal’s is geared toward a Leftist reading of events. In El estrecho, the combination and juxtaposition of fragments of primary texts produces a collage that forces the reader to face some of the jarring incongruities between diverse versions of events.
10 I quote extensively from this passage to compare the use made of the figure of this old woman by both authors, each to illustrate their own particular perspectives, inevitably shaped by the context of the The Dubious Strait 27 times in which they write. When appropriated by Cardenal, the same woman (through fragments of Oviedo’s own text) serves as a means to represent a different interpretation of the ethical position of the Indians and the Spaniards referred to in this anecdote. After the section above, Oviedo proceeds with an extremely detailed description of the physical features of the old woman to evoke from the reader an understanding of his disdain: Yo le pregunté que, después que habían habido su concejo con la vieja o menexico, qué se hacía ella, y qué edad tenía o qué disposición; y dijo que bien vieja era y arrugada, y las tetas hasta el ombligo, y el cabello poco y alzado hasta arriba, y los dientes luengos y agudos, como perro, y la color más oscura y negra que los indios, y los ojos hundidos y encendidos; y en fin él la pintaba en sus palabras como debe ser el diablo.