El Señor Presidente by Miguel Ángel Asturias
When the trumpet sounded
everything was
prepared on earth,
and Jehovah gave
the world
to
Coca-Cola Inc., Anaconda,
Ford Motors, and
other corporations.
The United Fruit
Company
reserved for
itself the most juicy
piece, the
central coast of my world,
the delicate
waist of America.
It baptized
these countries
Banana Republics
and over the sleeping dead,
over the unquiet
heroes
who won greatness,
liberty, and
banners,
it established
an opera buffa:
it abolished
free will,
gave out
imperial crowns,
encouraged envy,
attracted
the dictatorship
of flies…
Pablo
Neruda
“La United
Fruit Co.” from Canto General (1950)
Modeled after the brutal Guatemalan
dictator and corporate henchman for the American-owned United Fruit Company, Manuel
José Estrada Cabreras (1898-1920), the nameless tyrant of Nobel laureate Miguel
Ángel Asturias’ most influential novel, El
Señor Presidente,
achieves a nearly mythical stature in
this surreal and brawling tale as an aloof and evil god, the mysterious source
of all suffering and death. What we learn of him we learn principally through
the eyes and mouths of the poor and the mad and the dispossessed, as well as through
the political jockeying of his many sycophants and jackals. Alternately praised
as “Beloved Deity,” “First Citizen of the Nation,” and—in a single breath,
without a trace of irony—“Constitutional President of the Republic, Benefactor
of the Country, Head of the great Liberal Party, and Liberal-hearted Protector
of Studious Youth,” this reclusive tyrant—with his toothless gums, pendulous
cheeks, and pinched eyelids—is compared daily by his wretched subjects to none other
than Pericles, Jesus Christ, and “the Sun King at Versailles.”
Yet, ultimately, this
novel is a less a satire of a particular man and regime, a particular Banana
Republic* (for which Asturias had no shortage of choices, most notably Jamaica
and nearby Honduras) than a broader, artistically ambitious study of the brutal
effects of plutocracy, no matter the era, the people, the place. Indeed if one were
to change the names, switch the props, adjust the lighting here and there, this
novel could be set almost anywhere today (forget Iraq and North Korea and Iran;
think of China, Russia, and Germany, think of England and France, think
especially of the U.S.A.)—any place where, in the hallowed name of This or That,
the elites of business, politics, and the military have gladly joined
hands.
In a story reminiscent of
the gory productions of the popular, turn-of-the-century Parisian theatre, the
Grand Guignol, there is one character, a man known as Miguel Angel Face (Miguel
Cara de Ángel), who serves as a lifeline for the reader throughout the plot’s
many twists and convulsions and turns, a moral, starkly human gauge of the
corruption and tyranny that reigns supreme in this nameless Central American
nation.
Known as one of the first
“dictator novels” (see also Fecundo
by Domingo Faustino Sarmiento and Nostromo
by Joseph Conrad), a genre that would inspire such other Latin American greats
as Autumn of the Patriarch; I, the Supreme; and The Feast of the Goat, El
Señor Presidente is additionally remarkable as a novel for its clear break
from the historic and realist style that dominated the period, both in Europe
and Latin America. Cleary influenced by surrealism, Asturias, in his effort to more
deeply probe the human psyche under tyranny, achieved a new style at once mythical,
dreamlike, and incantatory, an innovation soon to inspire the “magical realism”
boom of the 1960’s and `70’s, for which the literature of Latin America remains
widely, if imperfectly known.
* The
term was coined by coined by American author O. Henry around 1904, following
his travels in Honduras.
Miguel Ángel Asturias (1899-1974) A Guatemalan by birth,
Miguel Asturias studied the myth and religion of Central America at the
Sorbonne. While living in Paris
(1923-1933), he worked as a correspondent for several Central American
newspapers. He then pursued a diplomatic
career, representing the Guatemalan government in Argentina, El Salvador, and
Mexico. He then served as the Guatemalan ambassador to France from 1966 to
1970. In 1967 he was award the Nobel
Prize for Literature. (Thanks in part to Atheneum)
Peter
Adam Nash
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