The Roots of Our Salvation

This entry was inspired by a recent comment on my first post.  The commenter politely stated that in their opinion Magical Realism, a recurring topic throughout the mentioned post, was not truly a Latin American thing but had its roots in a tradition that stemmed to Europe and Spain.  I wholeheartedly agree and recognize that there were those from many other nations especially  in Germany with writers such as Kafka and Johan Daisne.  I was not attempting to discredit them but simply draw the Latin American magical realists away from their European predecessors.

There is something entirely unique about the Latin American movement in magical realism and, not to reiterate something that was expressed in the earlier post, it is the nearly unifying attempt to protect oneself from vulnerability and the pains that exist so often as a man and as a citizen of Latin America.  It is not that other people do not suffer as well but they handle it differently as can be viewed in Kafka’s “Wedding Preparations in the Country”.  Kafka acknowledges the insecurities of his characters and plays with them, placing them in the spotlight no matter how fervently they attempt to hide from them.  The magical realists of Latin America also tend to acknowledge their character’s insecurities and pain but that is as far as the similarity goes.  In Bolaño The Savage Detectives, the two true protagonists Arturo Belano and Ulises Lima are never allowed to tell their stories for themselves, never show any sort of emotion to anyone and when emotion is apparent it is only seen from the narrator’s shadowy perspective, be it from an entirely different room or in such a dark room that no real emotion is ever really witnessed.

It is for this reason that I separated the world of European magical realism from that of the Latin Americans.  There is a feeling of escape within their stories, a need to run from the pain of their world in order to remain sane and sometimes as in the case of Bolaño it is truly difficult to say that he was able to retain this sanity.  It was also their safest bet when attempting to describe a too dangerous world.  Some of the magical realists carry a journalistic air about their writings and it could never have been safe for them to describe the events they do if they had been blunt and transparent in their commentary.  In Latin America, magical realism offers the safety necessary for artists to be able to assert their political views without the repercussions that a man such as Victor Jara, a popular musician around the time of the Pinochet coup, faced.

So as is obvious, this is why I separated Latin American magical realism from that of other movements.  This is not an attack at the commenter but simply my explanation for something that obviously did not come across clearly in my previous post.  I hope that this better explains my thoughts.

I, Who Am Not What I Appear To Be

I was reading an article in the New Yorker a few weeks back on John Updike.  He passed away the week before and needless to say that week’s issue was full of articles from editors and others who wanted to make their peace with Updike and his legacy.  I regrettably know very little about the man and his works and took advantage of the surge of attention to learn a little bit about this writer who had been held in such high esteem.  I will not spend any time summarizing the article because that is not the point of me relating this story but there was a recurring theme throughout the entirety of the piece that had me thinking by the end.  The writer proclaimed that Updike was one of the few writers to ever be able to fully express himself.  I remember reading this particular part of the story and stopping to reflect on whether I was even close to  being able to fully express myself.  I came to the conclusion that I was not and probably would never be.

It came to my attention recently and very late that magical realism, my favorite form of fictional writing, was a form that had initially been almost uniquely Latin American.  I found this to be pleasing on some deeper level because I found it to be but another testament to my innate connection to Latin America, to a place I have barely been a part of but nevertheless want to be more than anything else.   I mentioned magical realism and my adoration for it because initially, upon reading the article, I found that I was disappointed with my acknowledgment  that I was always to be incapable of expressing myself.

Having thought on the subject for some time now I have come to the conclusion that the magical realists were also faced with this problem.  It is a uniquely Latin American problem and even more so a problem faced by men of Latino descent.  We are raised by our fathers in the tradition that we are to never express ourselves more than is necessary and we are taught that it is never necessary.  During high school, as a result of having many female friends, I convinced myself that I was in tune with my emotions, a man truly in touch with his femininity and not ashamed of it.  Now I’ve come to realize that while in touch with my emotions I am incapable of expressing them.  I think it is for this reason that I have always found myself in love with writing and especially writing about things that do not reflect when held to the mirror.  I don’t want to read my works and feel that I see myself in them though it is of course inescapable and to this day I see myself in everything I write.

For this reason people, Latinos especially, resort to magical realism; we want to find a means of escape and perhaps to distort the mirror as Alice did when she stepped through.  It feels safer to step through the mirror and find that there is a world that resembles ours but where we can still eat a mushroom and grow to be 100 ft tall.  To step to the mirror and find that it is solid and that we are the only real thing there is too terrifying a prospect to think on and magical realism offers that escape.

So no, I cannot and will never express myself fully.  I do not believe that limits me in my ability to be a successful writer but I think it is only fair that I offer you some sort of warning.  When you read me and can almost swear that the next line was meant to be more important than it really is that is because it probably was supposed to be.  This does not mean that I somehow destroy my writings with my inability to successfully communicate what I feel but that instead I want you to read a little more closely.  I don’t believe in giving anyone too much.  “Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime.”  I firmly believe that.  Maybe it was because my father rarely ever helped me up after I fell and skinned my knee but I don’t think I’ll ever help my child up either.

So when I leave something out maybe it is because I want you to dig deeper and better come to know me because I am unwilling to allow you to know me.  Hopefully after all this you have opened a small window and can now see a little more of the inside even if it is limited.  There will always be things that I leave in shadow but I am trying to open myself if only a little bit.