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That we lack histories of the Latin American literature produced in the last 150
years would not be an easy argument to make. The period saw a succession of
attempts involved in the selection, organization, hierarchization, and narration
of the regions literature, from a wide range of theoretical perspectives and
with different geographical categories as the organizing principle, the individ-
ual national literary histories eventually giving way to accounts which were
regional or continental in scale. (Among them there is even, of course, since
1996, a Cambridge History of Latin American Literature.) For yet another Latin
American literary history to be written, and for its existence to be justifiable
amidst the abundance of accounts in existence some possessing breadth and
profundity this chapter cannot hope to reach the qualifier postcolonial would
have to insert some sort of newness into the available historical and critical
narratives. In this sense, a properly postcolonial history of literary production
from Latin America would ideally involve a double move, considering the
history of literary history in Latin America and, at the same time, the history
of the notion of the postcolonial.
One would then have to consider the possible effects of a formula that,
through situating in proximity the words postcolonial and Latin America,
provokes the mutual contamination of the two terms and, perhaps, the dis-
turbance of their histories. The questions to be pondered would therefore be:
how would a postcolonial Latin American literary history differ from other
histories of the regions literature? But also: in what sense, aside from the
peculiarity of its content, might a Latin American postcolonial literary history be
different from postcolonial histories organized around other geographic
contours?
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This chapter will sketch some possible answers to these questions, in the
process recounting briefly and in summary form the story of a few instances in
the Latin American literary production of the past century and a half. The
entry is therefore a retrospective and inevitably partial look at the literature
of the period, in an attempt to read it beside and against certain theoretical
and political concerns developed in the postcolonial criticism of recent deca-
des. Postcolonial theory is thus understood here, in consonance with the
meaning with which postcolonialism became known in the English-speaking
tradition, as the intellectual production arising from the decolonization of
African and Asian colonies in the twentieth century. When placed next to the
reflections linked to the African and Asian cases, where the preoccupation with
the relationship between colonialism and its aftermath that is to say, its
continuation and possible negation has a central place, the Latin American
intellectual production of the period appears as something of an oddity, and
one of the goals of this chapter will be to consider the implications of this
situation.
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There is, after all, a reason why Latin America qualifies as the norm of the
Third World for the United States, even as India used to be the authentic
margin for the British . . . Latin America has not participated in decolonization.
Certainly this formal conduct of magical realism can be said to allegorize, in the
strictest possible sense, a socius and a political configuration where decoloni-
zation cannot be narrativized. What are the implications of pedagogic gestures
that monumentalize this style as the right Third World style?2
In the pages following this fragment, the elaboration of the argument will, in
Spivaks own assessment, make the notion of Latin America as paradigm
tremble. What is proposed as an alternative, interestingly, is precisely called
a postcolonial locus of enunciation, that place in which the speaker is at once
native and insufficiently so, leading to an impossible no to a structure,
which one critiques, yet inhabits intimately, that is, to the everyday here
and now named post-coloniality.3
In her reading of Bhabha, Sarlos response to Latin Americas place in this
discussion, wavering between silence and occasional discord, is not unusual in
its ambivalence: she at once commends The Location of Culture for its illuminat-
ing analyses and theoretical ingenuity and bemoans the absence of references
to the Latin American tradition, insisting that many issues raised by Bhabha
and his generation of postcolonial critics were standard fare in the history of
the Latin American literature and criticism of the twentieth century. Yet the
question left unanswered, it seems, is this: why should Bhabha or, for that
matter, any other postcolonial critic, include references to Latin American
literature and culture in their studies? Or yet, to be a bit more precise: why
would this unfamiliarity with Latin America be a graver offence than the
noteworthy absence, in the Latin American library described by Sarlo, of
serious engagement with African or Asian criticism or culture? After all, of
the names identified in Ato Quaysons introduction to this volume as central
for the development of colonial discourse analysis and postcolonial criticism
Aim Csaire, Albert Memmi, Frantz Fanon, C.L.R. James, George Lamming,
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MARCOS P. NATALI
V. S. Naipaul, Edward Said only Fanon and Said could be said to have had a
reasonably noticeable presence in twentieth-century Latin American criticism,
and even in their case the impact seems to have been significantly slighter than
that noticeable in most of the other intellectual traditions examined in the
chapters in this volume.
Indeed, in this juxtaposition the absences and silences might be seen as
a commonality. Thus, if historian Dipesh Chakrabarty has remarked on
the asymmetry of ignorance defining the non-Wests relation to European
history4 non-Western historians may not return Europes gesture of ignoring
their work, at the risk of having that work derided; a good historian must know
French history no matter what his area of expertise in the specific case under
consideration the relationship between Latin America and Africa or Asia
there would in comparison seem to be some reason for celebration: the
ignorance here seems to have been very much symmetrical!
There are, of course, specific deviations from the norm, and there is a note-
worthy current exception to this rule of mutual ignorance: some recent work
produced in or around the United States academy. There in the case of Latin
Americanists, in the work of Alberto Moreiras, Walter Mignolo, the Latin
American subaltern studies group, etc. cross-fertilization has at times
occurred and appears to grow, of which the existence of a chapter on Latin
American literature in a volume on postcolonial literature might be proof. As
far as Latin American studies is concerned, the politics of this recent exchange
seems at one level to be different from previous appropriations of Asian or
African cultural elements by Latin American literature, as seen in the
Orientalism of turn-of-the-century poetry in the work of Nicaraguan Rubn
Daro (18671916), for example or in the exoticist impulses of some early
twentieth-century Latin American vanguards. Yet there may be a sense in which
the difference might not be that great after all, since the reference to the latest
postcolonial critic may also function as a sign of up-to-datedness, that is, as a
means of association with a prestigious cosmopolitan discourse, just as the
exoticism of earlier Latin American literature had resulted in part from the
desire for insertion in European culture.
My feeling is that Sarlo would not be overjoyed with this recent wave of
postcolonialist and Latin Americanist academic production either, but, in any
case, the issues raised in the brief account of her reply to The Location of Culture
outlined above may serve as a point of departure for the discussion which will
be undertaken here. Significantly, the tension noticeable in Sarlos critique
could serve as a type of case study of many concerns central to postcolonial
criticism, including the various political aspects involved in the circulation of
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This it very well may be, on one level, given the history of the spread of
postcolonial studies and their arrival, via the North American academy, in
Latin America. Yet surely our suspicion should not be any slighter before
nationalistic or regionalist undertones in defences of local particularities,
even when these are tempered by the clause that identifies as its specificity
the regions inalienable diversity.
In any case, the remarkable aspect of the story is surely also the fact that
epistemological models elaborated far from Latin America, without its history or
culture in mind, at times seem eerily familiar, or that they often do turn out to be
useful for thinking anew apparently parochial problems, and that the literature
and criticism produced elsewhere do permit unexpected dialogues with local
production. Of course, even in these instances, for reflections of this sort to be at
all worthwhile the matter of cultural translation must be present on many levels
among them, in this case, the question of the translation of the term postcolo-
nial itself. How many postcolonialisms are there, and what does the post mean
in each case? And is there any post to speak of in the Latin American case?
Be that as it may, if the claim of the historical priority of a Latin American
postcoloniality is dubious,7 and unwittingly reproduces well-worn European
affirmations of originality, albeit this time advocating first rights to something
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include in it absent loci of enunciation and with the aim of determining how
the resignification of the terms postcolonial and decolonization could alter the
narrative structure of Latin American literary histories. (If something may be
said about the movement in the opposite direction from the Latin American
model to Asia or Africa perhaps even the Brazilian version of the narrative of
independence may have something to contribute. In comparison in any
comparison! the Brazilian experience appears as a sort of caricature, and
one originating in a particularly tasteless pen: in a plot entirely lacking in
subtlety, history reserved for Brazil an independence announced and led by
the son of the Portuguese empires monarch. And yet, if the ethnic or, in
the case of the Brazilian farce, the genetic factor is not the only one consi-
dered, perhaps the Brazilian case, and by extension other, less extreme Latin
American models, may not seem so exotic or different from, say, the Indian
scenario, where the filiation of nationalist leaders to the metropole surely
existed on some level.) Such considerations might very well lead to a rereading
of the very idea of a Latin American literature, whose unveiling or construction
was the proclaimed task of numerous literary movements in the past century
and a half, as of the literary histories that registered them. Circling around the
notion of a perceived Latin American exceptionalism, these debates often
departed from some version of the question famously formulated by Mexican
poet Octavio Paz in 1961: Does a Spanish-American literature exist?14 The
focus in these discussions historically tended to fall on the first element of the
equation the adjective Spanish-American (or Latin American, in its more
wide-ranging version, which includes the Portuguese-language literature of
the continent yet usually, in practice if not in name, not francophone American
literature). Does a specifically Latin American literature exist? the question
generally goes, frequently assuming the unproblematic existence of literature.
The answers vary, but it might not be unfair to say that in most literary
histories of the period the tendency was to see regional or national literature as
an object of desire, a project worthy of defence in one form or another. Thus,
Pazs specific answer to the question is that there is such an entity as Spanish-
American literature, thereafter defined by the Mexican poet as literature
written in Spanish in America. For the discussion being developed in this
chapter, a move such as the following is laden with significance: Paz will
resolve the problem of discursive practices in indigenous languages through
claiming that their literature, typically spoken, is a chapter in the history of
American civilizations.15
The preoccupation regarding the existence of national, regional or conti-
nental literary identities has recently lost energy and does not carry the weight
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Literature as assimilation
The overwhelmingly positive representations of the expansion of literature in
Latin American literary histories has much to do with the configuration out-
lined above, as evidenced in the figures created by literary historians and
writers for depicting the spread of the literary: transculturation (ngel
Rama), super-regionalism (Antonio Candido, Brazil, b.1918), anthropophagy
(the Brazilian Modernists of the 1920s), lo real-maravilloso (the marvellous real)
(Carpentier). Despite significant differences, common to all of these tropes was
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1943 trip to Haiti and subsequently published as the prologue to the novel El
reino de este mundo (1949; The Kingdom of This World). In it Carpentier opposes
the representations of the extraordinary in European artistic traditions
surrealism, the fantastic, magical realism to the marvellous reality of Latin
America. If in the former wonder had to be provoked through the artists
intervention, either through unexpected juxtapositions or the augmentation of
reality, in Latin America the marvellous was said to emanate freely from
reality itself hence Carpentiers insistence on the expression the marvellous
real, identified furthermore as a heritage belonging to the entire continent.
Similar gestures would not be uncommon in the literary production of the
following decades, some of which is linked by critics to the labels marvellous or
magical realism. The subgenre is generally said to include such disparate novels
as Hombres de maz (1949; Men of Maize) by Miguel ngel Asturias (Guatemala,
18991974), Cien aos de soledad (1967; One Hundred Years of Solitude) by Gabriel
Garca Mrquez (Colombia, b.1928), and, more problematically, Pedro Pramo
(1955; Pedro Pramo) by Juan Rulfo (Mexico, 191886) and Grande serto:
veredas (1956; The Devil to Pay in the Backlands) by Joo Guimares Rosa
(Brazil, 190857), along with the aforementioned El reino de este mundo.
(Some of these authors would be read productively by postcolonial Asian and
African novelists.) Amidst the assortment of critical studies, one possible read-
ing of marvellous realism would be this: in the light of growing discomfort
with religion among Latin American intellectuals, and amidst the undeniable
persistence of religious practices in daily life and in popular culture, the
religious was translated into the safer terrain of literature, from which, neu-
tralized as fiction, aspects of subaltern experience could be recodified as
representative of regional identity. The move, at the same time, allowed
literature to be portrayed as the continuation of oral, non-literary cultural
practices, rather than their annulment.
A short story by Garca Mrquez, one of the genres most prominent authors,
gives literary form to a common understanding of the movement between the
local and the imported, between peripheral culture and European models. In El
ahogado ms hermoso del mundo (The Handsomest Drowned Man in the
World), the foreign element in need of absorption appears in the shape of a
strangers corpse, as it, larger, stronger, and more beautiful than any body ever
seen, washes up on the shores of a Caribbean village. Here, as in the self-
representation of marvellous realism, the appearance of an unfamiliar yet presti-
gious body stimulates local creativity, so that the village is reformed, both
materially and symbolically, as its inhabitants attempt to elevate it to the new-
comers stature. As with much of the production associated with marvellous
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realism parts of Garca Mrquezs novel One Hundred Years of Solitude may be
read in this light the underlying wager seems to be that in the locals relation-
ship with the foreign it is the former that will prevail, with its vernacularization
of the unfamiliar. Once the encounter is narrated as the dissolution of the
external element by a native community it is significant that the scarce internal
tension existing in the short storys village is quickly resolved it can be
celebrated as the triumph of the local, although, to tell the story with rather
different vocabulary, historically there did not seem to be much choice regarding
the adoption of modernization. Furthermore, as recent critical readings of the
ideas of transculturation and marvellous realism have argued, the consolidation
of regional identity will be simultaneous with Latin Americas insertion in the
global market.20 By the end of the story, the village, with its improved architec-
ture and self-esteem, will be recognized even by outsiders, as a ship floats by.
Ambivalently, however, the recognition will involve a modification of the vil-
lages name, as the ships captain calls the village by the dead mans name. This
closing contradiction contrasts with the celebratory tone of many of Garca
Mrquezs critical texts, as well as some by fellow novelists Carlos Fuentes
(Mexico, b.1928) and Julio Cortzar (born in Belgium to Argentine parents,
191484), who occasionally described the literature of the period as the unveil-
ing of an authentic cultural identity.
The fantastic, the genre in which some of the stories by Fuentes and
Cortzar are often classified, may likewise be read as an attempt to account
for unresolved cultural tensions, as befits a genre traditionally occupied with
the presence of the other in the same, commonly through figures such as the
ghost. In the short stories Axolotl (Final del juego, 1956), by Cortzar, and
Chac Mool (Los das enmascarados, 1954), by Fuentes, the cause for estrange-
ment is not strictly a spectre, being linked instead to indigenous beings, and to
the strange being of the indigenous.
Axolotl is narrated by a man who, after overcoming his initial apprehen-
sion, describes his increasing fascination with certain amphibian specimens
exhibited in an aquarium in Pariss Jardin des Plantes. The ethnographic
inquiry into their nature, a central impulse in the construction of the magical
realist novels of Asturias and Carpentier, is here frustrated, as is the philological
search for the meaning of the Nahuatl word which gives the animals their name
and the story its title. The narrator will ponder the question of the possible
humanity of these beings, recalling early colonial debates about the nature of
indigenous peoples, and the issue will here again be consumption and assim-
ilation to the guards observation that the narrator appeared to be eating the
axolotls with [his] eyes, he remarks that it was they, with their cannibalism of
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gold, who were slowly devouring him. The narrations pronouns will repeat-
edly shift from the first to the third person, with the subject/object split
becoming increasingly unstable, even as the narrator depicts the bind between
them as infinitely lost.
The encounter with the Chac Mool of Fuentess short story is also set in
motion by the fascination of a narrator, in this case a collector of pre-Hispanic
art in search of a statue representing the titles Mayan deity. In contrast to the
European fantastic of the nineteenth century, the strangeness is here explicitly
linked to local history, with the projection of the indigenous element to the
past. As in Cortzars Axolotl, the indigenous is not quite human, yet in this
case a progressive inversion will annul the possibility of coexistence or recog-
nition between the indigenous and the non-indigenous: the statue, in order to
be humanized, will feed off of the narrator. Its rise is his fall. The story will
partially blame the narrator for his fate, since it was his unhealthy fixation on
the past and his initial attraction to the statue, whose threat he underestimated,
which will lead to its resurrection and his death. There is no space, the story
suggests, for the existence of both the national and the indigenous subjects.
In the end, the options offered the indigene are the objectified existence of an
idol or, after presentification, the grotesque figure of the imperfectly modern-
ized Indian.
If in Axolotl the outcome of the conflict is ambiguous, culminating in
uncertainty regarding the boundaries of each of its actors, and if Chac Mool
narrates as tragedy and murder (of the non-Indian) the mere existence of the
Indian, a third story, Mexican author Elena Garros (191698) La culpa es de los
tlaxcaltecas (La Semana de Colores, 1964) (Blame the Tlaxcaltecs), will tell the
chronicle of a woman faced with two parallel temporalities one, in the
twentieth century, in which she marries into the Mexican elite, another in
which she is an indigenous warriors partner during the sixteenth-century battles
which would lead to the conquest of Tenochtitlan, later Mexico City, by the
Spanish. Here too, as in Fuentes, the past or what is coded as the past
threatens to return, yet the possibility is in the end embraced by the modern
subject, who ultimately chooses it, albeit while recognizing the fact of its
historical and civilizational defeat, a defeat to which her own betrayal is
thought to have contributed. The stories represent three possible outcomes
of the fantastic genre and also condense three approaches to the narration of
the aftermath of the conquests original trauma, with the other the ruins
of the conquest appearing in the figures of a strange creature, a statue and a
person from the past, respectively the cause of ambivalent desire, fear and
passion.
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Borges, within the Spanish archive, can be said to have constituted a mark on
language, first on the Spanish language, then on language in general. Does
Borges break history, the history of language, the history of the Spanish
language, in two, does he create a situation such that we, the successors,
must then think of a state of things before Borges and of a different state of
things after Borges?22
The notion of the archaic, and the linear temporality on which it depends,
would also be upset, from very different angles, in other poetic and narrative
works written in the second half of the twentieth century in Latin America,
remarkably in the novels Lavoura arcaica by Raduan Nassar and Pedro Pramo by
Juan Rulfo, published, respectively, in Brazil in 1975 and in Mexico in 1955.
Intricate aesthetic structures seeking to capture a temporality shaped by the
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Suddenly the spread of literature and the consolidation of its tangled web of
institutions might no longer seem like something to be automatically cele-
brated. The story of its spread, after all, is the tale of the consolidation of a
certain way of living with language and narrative and of a certain subjectivity.
The experience of reading and writing in solitude and silence, the development
of interiority which reading incites, literatures debt to individualism, litera-
tures relation to the state and its pedagogical institutions: all of this would
have to be rethought, alongside a history of the book, as technology and
commodity, in Latin America. If Derrida has insisted on the need to think
the link between literature and democracy, and of democracy as a prerequisite
for literature, we need also consider the connection between modern literature
and the commodity form, and ultimately between literature and capitalism.
With this backdrop in mind, in what sense might literature not be desirable?
In what place, under which circumstances, for whom? What would be a
situation in which literature and justice did not coincide? What goals could
trump those of literature? What interests could override those of the literary
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Notes
1. Beatriz Sarlo, Nuestro mundo hbrido: El lugar de la cultura de Homi Bhabha, Clarn,
23 (November 2002).
2. Gayatri Spivak, Marginality in the teaching machine, in Outside in the Teaching
Machine (New York: Routledge, 1993), pp. 578.
3. Ibid., p. 60.
4. Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical
Difference (Princeton University Press, 2000), pp. 289.
5. Arif Dirlik, The post-colonial aura: Third World criticism in the age of global
capitalism, Critical Inquiry, 20 (1994), 329.
6. Mabel Moraa, and Carlos Juregui, Introduccin, in M. Moraa and C. Juregui (eds.),
Colonialidad y crtica en Amrica Latina (Puebla: Universidad de las Amricas, 2007), p. 11.
7. For an exploration of the notion of Latin America as the template for coloniality, see
Francisco A. Ortega, this volume, Chapter 10(a).
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