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ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد.
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dbo:abstract
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1917 ο Μιγκέλ Αστούριας σπούδασε νομική στο Universidad de San Carlos de Guatemala όπου συμμετείχε στην επανάσταση του 1920 εναντίον του Γουατεμαλανού δικτάτορα . Αποφοίτησε το 1923 και πήγε στο Παρίσι της Γαλλίας για να συνεχίσει την εκπαίδευσή του στη Σορβώνη. Ενώ ζούσε στο Παρίσι, επηρεάστηκε από τη συγκέντρωση συγγραφέων και ποιητών στο Μοντπαρνάς και ξεκίνησε τη συγγραφή ποίησης και μυθοπλασίας. Ο Αστούριας επέστρεψε στη Γουατεμάλα το 1933 όπου δούλευσε ως δημοσιογράφος προτού υπηρετήσει στο διπλωματικό σώμα της χώρας του. Όταν έπεσε η κυβέρνηση του Προέδρου Γιάκομπο Αρμπένζ το 1954, εκδιώχτηκε από τη χώρα από τον Κάρλος Καστίγιο Άρμας. Ενώ ζούσε στην εξορία έγινε διάσημος συγγραφέας με την έκδοση του μυθιστορήματός του Mulata. Τελικά, ο νέος πρόεδρος της Γουατεμάλα τον όρισε πρέσβη στη Γαλλία το 1966, την ίδια χρονιά που κέρδισε το Βραβείο Ειρήνης Λένιν. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. Κατά τη διάρκεια μιας συνάντησης κάποιων Λατινοαμερικάνων προέδρων στην Ονδούρα το 2005, ο Μεξικανός πρόεδρος Βισέντε Φοξ ανέφερε: " Έχουμε προτείνει να πραγματοποιήσουμε τη συνεργασία μεταξύ μας, σύμφωνα με τα οράματα των προγόνων μας...και είμαστε τα παιδιά ενός σπόρου, μια γεναιόδωρη χώρα αντρών και γυναικών του καλαμποκιού, όπως είπε κάποτε ο σπουδαίος Γουατεμαλανός συγγραφέας Μιγκέλ Άνχελ Αστούριας." (el)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. Aunque Asturias nació y se crio en Guatemala, vivió una parte importante de su vida adulta en el extranjero. Durante su primera estancia en París, en la década de los años 1920, estudió antropología y mitología indígena. Algunos científicos lo consideran el primer novelista latinoamericano en mostrar cómo el estudio de la antropología y de la lingüística podía influir en la literatura. En París, Asturias también se asoció con el movimiento surrealista. Se le atribuye la introducción de muchas características del estilo modernista en las letras latinoamericanas. Como tal, fue un importante precursor del boom latinoamericano de los años 1960 y 1970. En El señor presidente, una de sus novelas más famosas, Asturias describe la vida bajo la dictadura de Manuel Estrada Cabrera, quien gobernó en Guatemala entre 1898 y 1920. Su oposición pública lo llevó al exilio, por lo que tuvo que pasar gran parte de su vida en el extranjero, sobre todo en América del Sur y Europa. La novela Hombres de maíz, que se considera a veces como su obra maestra, es una defensa de la cultura maya. Asturias sintetiza su amplio conocimiento de las creencias mayas con sus convicciones políticas para canalizar ambas hacia una vida de compromiso y solidaridad. Su obra es a menudo identificada con las aspiraciones sociales y morales de la población guatemalteca. Tras décadas de exilio y marginación, Asturias finalmente obtuvo amplio reconocimiento en los años 1960. En 1965 ganó el Premio Lenin de la Paz de la Unión Soviética. Luego, en 1967, recibió el Premio Nobel de Literatura, convirtiéndose así en el tercer autor americano no estadounidense en recibir este honor —tras Gabriela Mistral en 1945 y Saint-John Perse en 1960— y el segundo hispanoamericano. Asturias pasó sus últimos años en Madrid, donde murió a la edad de 74 años. Fue enterrado en el cementerio de Père Lachaise en París. (es)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. 그는 1933년에 과테말라로 귀국하면서 언론인과 외교관으로 근무하기 시작했으며 소설 《대통령 각하 (El Señor Presidente)》(1946년 작)와 《옥수수의 인간 (Hombres de maíz)》(1949년 작), 《강풍 (Viento fuerte)》(1950년 작), 《녹색의 교황 (El Papa verde)》(1953년 작)을 썼다. 그는 1954년에 과테말라에서 쿠데타가 일어나자 아르헨티나로 망명했으며 그 곳에서 8년 동안의 망명 생활을 보냈다. 그는 1960년에 소설 《죽은 자들의 눈 (Los ojos de los enterrados)》을 썼으며 1963년에 소설 《물라타 (Mulata de tal)》를 썼다. 이후 그는 1966년에 과테말라 정부로부터 프랑스 주재 대사로 임명되었으며 같은 해에 소련 정부로부터 레닌 평화상을 받았다. 그는 1967년에 노벨 문학상을 수상했다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor degenen die niet het geld hadden om op de officiële universiteit te kunnen studeren. In 1923 studeerde hij af; zijn scriptie ging over “het maatschappelijke probleem van de indiaan”. Asturias ging daarna naar Europa, studeerde eerst een paar maanden in Londen en maakte zijn studies af in Parijs op de Sorbonne. Daar volgde hij onder meer lessen in de Maya-godsdiensten van Professor Georges Raynaud. In de zes jaar die hij in Parijs doorbracht, werd hij sterk beïnvloed door de gemeenschap van artiesten en schrijvers rond Montparnasse, en begon hij poëzie en proza te schrijven. Andere Zuid-Amerikaanse schrijvers met wie hij veel contact had in die tijd, waren de Cubaan Alejo Carpentier en de Venezolaan . In 1928 keerde Asturias voor korte tijd terug naar Guatemala om colleges te geven aan de Universidad Popular, deze colleges zijn gebundeld in zijn eerste boek, Arquitectura de la vida nueva. Terug in Europa maakte Asturias zijn Leyendas de Guatemala af. Het boek is een van de eerste boeken waarin het Magisch Realisme, dat later haast synoniem werd voor de Zuid-Amerikaanse literatuur, duidelijk naar voren komt. Het boek kreeg de Silla Monsegur prijs, de prijs voor het best vertaalde Spaans-Amerikaanse boek dat jaar gepubliceerd in Frankrijk.Vanaf 1929 reisde Asturias door Europa en het nabije oosten. In 1933 keerde Asturias terug naar Guatemala. Het boek El señor Presidente, dat hij dan al geschreven heeft, kon hij niet publiceren vanwege het feit dat Guatemala op dat moment geregeerd werd door de dictator . Deze roman is gebaseerd op de bloedige overheersing door deze president. Het is in feite een aanklacht tegen elke vorm van dictatuur die steunt op terreur en verraad en opoffering van menselijke waarden. Asturias werkte als journalist en als hoogleraar literatuurwetenschap. In 1939 trouwde hij met de Argentijnse Clemencia Amado en werd hun zoon Rodrigo geboren, in 1941 werd een tweede zoon geboren, Miguel Ángel, en in 1947 werd de scheiding uitgesproken. Na het aftreden van Ubico in 1944 kwam eerst een militaire junta aan de macht en na een revolutie een paar maanden later werd Juan José Arévalo de nieuwe president. Deze benoemde Asturias tot cultureel attaché aan de Guatemalteekse ambassade in Mexico. Hier werd in 1946 de eerste versie van El señor Presidente gepubliceerd, dat zijn faam als schrijver in Zuid-Amerika zou vestigen. Asturias raakte er ook bevriend met Pablo Neruda. In 1947 werd hij cultureel attaché in Buenos Aires (Argentinië). Later kreeg hij zelfs een adviserende ministerspost in Argentinië.'1949 was geheel gewijd aan het schrijven van Hombres de maíz (Nederlandse vertaling: De doem van de maïs), het boek dat over het algemeen als zijn meesterwerk beschouwd wordt. In het boek komen indiaanse stammen in opstand tegen het leger en de maïsplanters. Het boek is geschreven vanuit het magische beeld van de indianen op de wereld, en is daardoor niet eenvoudig te lezen. Eind van het verhaal is dat de leider van de revolutie, Gaspar, een legende wordt en dat de boeren hun land en hun magie verliezen.In 1950 keerde Asturias voor korte tijd terug naar Buenos Aires, waar hij trouwt met Blanca Mora y Araujo. In 1954 viel de regering van Jacobo Arbenz. Asturias was op dat moment in Guatemala, maar keerde terug naar zijn diplomatieke post in San Salvador. Hij zegde zijn aanstelling op en ging via Chili (Neruda) naar Argentinië, waar hij in ballingschap bleef tot 1963. Vervolgens maakte hij reizen door Europa. Hij werd door vele universiteiten gevraagd voor gastcolleges, en werkte mee aan verschillende congressen. In 1966 vestigde hij zich weer in Parijs. De in 1966 nieuw gekozen president van Guatemala, Julio César Méndez Montenegro, benoemde hem tot ambassadeur van Guatemala in Frankrijk. In dat jaar ontving Asturias de Lenin Vredesprijs. In 1967 ontving Asturias de Nobelprijs voor Literatuur met als motivatie dat hij een levendig literair oeuvre geschapen had dat diepgeworteld is in de Guatemalteekse indiaanse tradities. Nog vele huldigingen zouden volgen, onder meer zijn benoeming tot “hijo ungénito de Técan Uman” door de Guatemalteekse indiaanse gemeenschappen.In 1970 trad Asturias op als hoofd van de jury van het filmfestival van Cannes. In 1970 trad Montenegro af als president en zegde Asturias zijn ambassadeursfunctie op. De laatste jaren van zijn leven sleet hij in Madrid. Hier overleed hij in 1974 in bijzijn van zijn vrouw Blanca en zijn zoon Miguel. Asturias ligt begraven op Père-Lachaise in Parijs. (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. Przedstawiciel nurtu realizmu magicznego, w swych powieściach posługiwał się prozą poetycką. Twórczość głęboko osadzona w kulturze Majów. Zaangażowanypolitycznie po stronie ruchów lewicowych, sprzeciwiał się rządom dyktatorskim i eksploatacji przez wielkie korporacje. (pl)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1917 ο Μιγκέλ Αστούριας σπούδασε νομική στο Universidad de San Carlos de Guatemala όπου συμμετείχε στην επανάσταση του 1920 εναντίον του Γουατεμαλανού δικτάτορα . Αποφοίτησε το 1923 και πήγε στο Παρίσι της Γαλλίας για να συνεχίσει την εκπαίδευσή του στη Σορβώνη. Ενώ ζούσε στο Παρίσι, επηρεάστηκε από τη συγκέντρωση συγγραφέων και ποιητών στο Μοντπαρνάς και ξεκίνησε τη συγγραφή ποίησης και μυθοπλασίας. Ο Αστούριας επέστρεψε στη Γουατεμάλα το 1933 όπου δούλευσε ως δημοσιογράφος προτού υπηρετήσει στο διπλωματικό σώμα της χώρας του. Όταν έπεσε η κυβέρνηση του Προέδρου Γιάκομπο Αρμπένζ το 1954, εκδιώχτηκε από τη χώρα από τον Κάρλος Καστίγιο Άρμας. Ενώ ζούσε στην εξορία έγινε διάσημος συγγραφέας με την έκδοση του μυθιστορήματός του Mulata. Τελικά, ο νέος πρόεδρος της Γουατεμάλα τον όρισε πρέσβη στη Γαλλία το 1966, την ίδια χρονιά που κέρδισε το Βραβείο Ειρήνης Λένιν. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. Κατά τη διάρκεια μιας συνάντησης κάποιων Λατινοαμερικάνων προέδρων στην Ονδούρα το 2005, ο Μεξικανός πρόεδρος Βισέντε Φοξ ανέφερε: " Έχουμε προτείνει να πραγματοποιήσουμε τη συνεργασία μεταξύ μας, σύμφωνα με τα οράματα των προγόνων μας...και είμαστε τα παιδιά ενός σπόρου, μια γεναιόδωρη χώρα αντρών και γυναικών του καλαμποκιού, όπως είπε κάποτε ο σπουδαίος Γουατεμαλανός συγγραφέας Μιγκέλ Άνχελ Αστούριας." (el)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. Aunque Asturias nació y se crio en Guatemala, vivió una parte importante de su vida adulta en el extranjero. Durante su primera estancia en París, en la década de los años 1920, estudió antropología y mitología indígena. Algunos científicos lo consideran el primer novelista latinoamericano en mostrar cómo el estudio de la antropología y de la lingüística podía influir en la literatura. En París, Asturias también se asoció con el movimiento surrealista. Se le atribuye la introducción de muchas características del estilo modernista en las letras latinoamericanas. Como tal, fue un importante precursor del boom latinoamericano de los años 1960 y 1970. En El señor presidente, una de sus novelas más famosas, Asturias describe la vida bajo la dictadura de Manuel Estrada Cabrera, quien gobernó en Guatemala entre 1898 y 1920. Su oposición pública lo llevó al exilio, por lo que tuvo que pasar gran parte de su vida en el extranjero, sobre todo en América del Sur y Europa. La novela Hombres de maíz, que se considera a veces como su obra maestra, es una defensa de la cultura maya. Asturias sintetiza su amplio conocimiento de las creencias mayas con sus convicciones políticas para canalizar ambas hacia una vida de compromiso y solidaridad. Su obra es a menudo identificada con las aspiraciones sociales y morales de la población guatemalteca. Tras décadas de exilio y marginación, Asturias finalmente obtuvo amplio reconocimiento en los años 1960. En 1965 ganó el Premio Lenin de la Paz de la Unión Soviética. Luego, en 1967, recibió el Premio Nobel de Literatura, convirtiéndose así en el tercer autor americano no estadounidense en recibir este honor —tras Gabriela Mistral en 1945 y Saint-John Perse en 1960— y el segundo hispanoamericano. Asturias pasó sus últimos años en Madrid, donde murió a la edad de 74 años. Fue enterrado en el cementerio de Père Lachaise en París. (es)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. 그는 1933년에 과테말라로 귀국하면서 언론인과 외교관으로 근무하기 시작했으며 소설 《대통령 각하 (El Señor Presidente)》(1946년 작)와 《옥수수의 인간 (Hombres de maíz)》(1949년 작), 《강풍 (Viento fuerte)》(1950년 작), 《녹색의 교황 (El Papa verde)》(1953년 작)을 썼다. 그는 1954년에 과테말라에서 쿠데타가 일어나자 아르헨티나로 망명했으며 그 곳에서 8년 동안의 망명 생활을 보냈다. 그는 1960년에 소설 《죽은 자들의 눈 (Los ojos de los enterrados)》을 썼으며 1963년에 소설 《물라타 (Mulata de tal)》를 썼다. 이후 그는 1966년에 과테말라 정부로부터 프랑스 주재 대사로 임명되었으며 같은 해에 소련 정부로부터 레닌 평화상을 받았다. 그는 1967년에 노벨 문학상을 수상했다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor degenen die niet het geld hadden om op de officiële universiteit te kunnen studeren. In 1923 studeerde hij af; zijn scriptie ging over “het maatschappelijke probleem van de indiaan”. Asturias ging daarna naar Europa, studeerde eerst een paar maanden in Londen en maakte zijn studies af in Parijs op de Sorbonne. Daar volgde hij onder meer lessen in de Maya-godsdiensten van Professor Georges Raynaud. In de zes jaar die hij in Parijs doorbracht, werd hij sterk beïnvloed door de gemeenschap van artiesten en schrijvers rond Montparnasse, en begon hij poëzie en proza te schrijven. Andere Zuid-Amerikaanse schrijvers met wie hij veel contact had in die tijd, waren de Cubaan Alejo Carpentier en de Venezolaan . In 1928 keerde Asturias voor korte tijd terug naar Guatemala om colleges te geven aan de Universidad Popular, deze colleges zijn gebundeld in zijn eerste boek, Arquitectura de la vida nueva. Terug in Europa maakte Asturias zijn Leyendas de Guatemala af. Het boek is een van de eerste boeken waarin het Magisch Realisme, dat later haast synoniem werd voor de Zuid-Amerikaanse literatuur, duidelijk naar voren komt. Het boek kreeg de Silla Monsegur prijs, de prijs voor het best vertaalde Spaans-Amerikaanse boek dat jaar gepubliceerd in Frankrijk.Vanaf 1929 reisde Asturias door Europa en het nabije oosten. In 1933 keerde Asturias terug naar Guatemala. Het boek El señor Presidente, dat hij dan al geschreven heeft, kon hij niet publiceren vanwege het feit dat Guatemala op dat moment geregeerd werd door de dictator . Deze roman is gebaseerd op de bloedige overheersing door deze president. Het is in feite een aanklacht tegen elke vorm van dictatuur die steunt op terreur en verraad en opoffering van menselijke waarden. Asturias werkte als journalist en als hoogleraar literatuurwetenschap. In 1939 trouwde hij met de Argentijnse Clemencia Amado en werd hun zoon Rodrigo geboren, in 1941 werd een tweede zoon geboren, Miguel Ángel, en in 1947 werd de scheiding uitgesproken. Na het aftreden van Ubico in 1944 kwam eerst een militaire junta aan de macht en na een revolutie een paar maanden later werd Juan José Arévalo de nieuwe president. Deze benoemde Asturias tot cultureel attaché aan de Guatemalteekse ambassade in Mexico. Hier werd in 1946 de eerste versie van El señor Presidente gepubliceerd, dat zijn faam als schrijver in Zuid-Amerika zou vestigen. Asturias raakte er ook bevriend met Pablo Neruda. In 1947 werd hij cultureel attaché in Buenos Aires (Argentinië). Later kreeg hij zelfs een adviserende ministerspost in Argentinië.'1949 was geheel gewijd aan het schrijven van Hombres de maíz (Nederlandse vertaling: De doem van de maïs), het boek dat over het algemeen als zijn meesterwerk beschouwd wordt. In het boek komen indiaanse stammen in opstand tegen het leger en de maïsplanters. Het boek is geschreven vanuit het magische beeld van de indianen op de wereld, en is daardoor niet eenvoudig te lezen. Eind van het verhaal is dat de leider van de revolutie, Gaspar, een legende wordt en dat de boeren hun land en hun magie verliezen.In 1950 keerde Asturias voor korte tijd terug naar Buenos Aires, waar hij trouwt met Blanca Mora y Araujo. In 1954 viel de regering van Jacobo Arbenz. Asturias was op dat moment in Guatemala, maar keerde terug naar zijn diplomatieke post in San Salvador. Hij zegde zijn aanstelling op en ging via Chili (Neruda) naar Argentinië, waar hij in ballingschap bleef tot 1963. Vervolgens maakte hij reizen door Europa. Hij werd door vele universiteiten gevraagd voor gastcolleges, en werkte mee aan verschillende congressen. In 1966 vestigde hij zich weer in Parijs. De in 1966 nieuw gekozen president van Guatemala, Julio César Méndez Montenegro, benoemde hem tot ambassadeur van Guatemala in Frankrijk. In dat jaar ontving Asturias de Lenin Vredesprijs. In 1967 ontving Asturias de Nobelprijs voor Literatuur met als motivatie dat hij een levendig literair oeuvre geschapen had dat diepgeworteld is in de Guatemalteekse indiaanse tradities. Nog vele huldigingen zouden volgen, onder meer zijn benoeming tot “hijo ungénito de Técan Uman” door de Guatemalteekse indiaanse gemeenschappen.In 1970 trad Asturias op als hoofd van de jury van het filmfestival van Cannes. In 1970 trad Montenegro af als president en zegde Asturias zijn ambassadeursfunctie op. De laatste jaren van zijn leven sleet hij in Madrid. Hier overleed hij in 1974 in bijzijn van zijn vrouw Blanca en zijn zoon Miguel. Asturias ligt begraven op Père-Lachaise in Parijs. (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. Przedstawiciel nurtu realizmu magicznego, w swych powieściach posługiwał się prozą poetycką. Twórczość głęboko osadzona w kulturze Majów. Zaangażowanypolitycznie po stronie ruchów lewicowych, sprzeciwiał się rządom dyktatorskim i eksploatacji przez wielkie korporacje. (pl)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
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ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. (el)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. (es)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. (pl)
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. (el)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. (es)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. (pl)
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https://www.expatica.com/es/general/spanish-speaking-winners-of-the-nobel-prize-for-literature-31201/
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en
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Spanish-speaking winners of the Nobel Prize for Literature
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"Van Ons"
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2010-10-06T22:00:00+00:00
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With the awarding of the 2010 Nobel Prize for Literature to Mario Vargas Llosa of Peru, a total of 11 Spanish-speaking writers have won the award, five from Spain and the rest from...
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Expatica Spain
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https://www.expatica.com/es/general/spanish-speaking-winners-of-the-nobel-prize-for-literature-31201/
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With the awarding of the 2010 Nobel Prize for Literature to Mario Vargas Llosa of Peru, a total of 11 Spanish-speaking writers have won the award, five from Spain and the rest from Latin America.
Here is a short factfile:
2010
— Mario Vargas Llosa, Peru.
Prolific 74-year-old novelist who once ran for the president of his country. The Nobel committee hailed “his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat.”
1990
— Octavio Paz, Mexico:
Poet, novelist and diplomat who wins the prize at age 76, and dies in 1998. The Committee cites his “impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity.”
1989
— Camilo Jose Cela, Spain:
Novelist, poet, essayist and travel writer who wins the award at 63, and dies in 2002. The Nobel Committee praises “a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability.”
1982
— Gabriel Garcia Marquez, Colombia:
His “Hundred Years of Solitude” is the best-known of all Latin American novels, and has sold some 30 million copies worldwide. “The fantastic and the realistic are combined in a richly composed world of imagination,” said the committee. Garcia Marquez is 54 when he wins the prize.
1977
— Vicente Aleixandre, Spain:
Poet who wins the prize at age 79, and dies in 1984. Honored “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society.”
1971
— Pablo Neruda, Chile:
The most famous Chilean poet, who wins the prize at age 67, and dies in 1973, just 12 days after his country’s democratic government is overthrown and replaced by a military dictatorship.
The Nobel Committee praises “poetry that with the action of an elemental force brings alive a continent’s destiny and dreams.”
1967
— Miguel Angel Asturias, Guatemala:
Student of his country’s native Indian populations, who works for many years in France and wins the prize at age 67. Is honored for “his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America.” Dies in 1974.
1956
— Juan Ramon Jimenez, Spain:
Lyrical poet who leads a revival of Spanish literature. Wins the prize at age 66 and dies two years later.
The committee praises him for “lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity.”
1945
— Gabriela Mistral, Chile:
Poet who becomes the fifth woman to carry off the prize at at age 47, and also leads a diplomatic career. Dies in 1957; is cited by the Nobel Committee for “her lyric poetry which… has made her name a symbol of the idealistic aspirations of the entire Latin American world.”
1922
— Jacinto Benavente, Spain:
Playwright and poet renowned for the purity of his style. Wins the Nobel Prize at 56, and dies in 1954.
Is cited for “the happy manner in which he has continued the illustrious traditions of Spanish drama.”
1904
— Jose Echegaray y Eizaguirre, Spain (with Frederic Mistral of France):
Romantic playwright who also had a career as a scientist and government minister. Wins the award at 82, and dies in 1916.
Is praised by the Nobel Committee for “the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama.”
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correct_award_00058
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FactBench
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3
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https://zorosko.blogspot.com/2015/06/miguel-angel-asturias-interweaving.html
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en
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zoran rosko vacuum player: Miguel Ángel Asturias
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"View my complete profile",
"zoran rosko"
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Miguel Ángel Asturias , Legends of Guatemala, Trans. by Kelly Washbourne, Latin American Literary Review Press; Bilingual ed., 2012. ...
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en
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https://zorosko.blogspot.com/favicon.ico
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https://zorosko.blogspot.com/2015/06/miguel-angel-asturias-interweaving.html
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Ángel Bonomini - Shot through with wry humor and tender absurdity, these meditations on identity, surveillance, and isolation remain eerily prescient.
Ángel Bonomini, The Novices of Lerna , Trans. by Jordan Landsman, 2024 The Novices of Lerna introduces the enigmatic fictions of Ánge...
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FactBench
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0
| 24
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https://blog.bookstellyouwhy.com/collecting-nobel-laureates-miguel-angel-asturias-pablo-neruda
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en
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Collecting Nobel Laureates: Miguel Angel Asturias & Pablo Neruda
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http://blog.bookstellyouwhy.com/hubfs/Neruda_Nobel_Canto_Inventory.jpg
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http://blog.bookstellyouwhy.com/hubfs/Neruda_Nobel_Canto_Inventory.jpg
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[
"Leah Dobrinska"
] |
2017-04-05T13:00:00+00:00
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Works from Latin American Nobel Prize in Literature winners Pablo Neruda and Miguel Angel Asturias should be on your shelves. Here's what you need to know.
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en
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//blog.bookstellyouwhy.com/hubfs/file-21251103-ico.ico
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https://blog.bookstellyouwhy.com/collecting-nobel-laureates-miguel-angel-asturias-pablo-neruda
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Recently, we began spotlighting Nobel Prize in Literature winners from Latin America. Today, we’d like to highlight a couple more of our favorites. Read on for general information, ideas, and collecting points on Miguel Angel Asturias and Pablo Neruda, winners of the Prize at a time in history when the world as a whole was waking up to the amazing works and writers emerging from Latin America.
For more information on our previous Latin American Nobel laureate spotlights featuring Gabriela Mistral and Mario Vargas Llosa, please see the end of this post.
Miguel Angel Asturias
Miguel Angel Asturias won the Nobel Prize in Literature in 1967 and hailed from Guatemala. The Nobel committee cited “his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America" as motivation for the award.
Asturias was a contemporary of other renowned Latin American authors including Mario Vargas Llosa and Gabriel García Márquez, and together they make up the authors who penned groundbreaking and influential works which were published and circulated during the Latin American Literary Boom in the 1960s-1970s. Asturias utilized magical realism in many of his works, and his impact can be seen both in the reception of his work and his ongoing legacy. He is the namesake for the Miguel Ángel Asturias National Prize in Literature, awarded annually in Guatemala since 1988. If you are starting a Latin American literature collection, Asturias must be on your shelves. Here are a few places to begin when looking at his works.
Asturias is often recognized for two primary works: El Señor Presidente (The President) and Hombres de maíz (Men of Maize). First published in 1946 by Costa-Amic in Mexico, El Señor Presidente explores the subject of dictatorship, and the wretchedness that overtakes society as a whole due to political evils of those in power. Second and third editions of the novel with changes by Asturias were published in 1948 and 1952 by Losada in Argentina. An English translation was completed by Frances Partridge and titled The President. It was published in the U.K. by Victor Gollancz in 1963 and in the U.S. by Atheneum in 1964.
Hombres de maíz was published for the first time in 1949 by Losada in Buenos Aires, Argentina. In this novel, Asturias explores the collision of traditional Maya Indian customs and values and those of modern civilization. The novel is in six parts, and is often considered Asturias’ magnum opus. First edition copies of the book with a dust jacket in very good condition can cost a collector around $500.
Another interesting piece for the Asturias collector to explore is his Banana Trilogy. The Banana Trilogy is made up of the novels Viento fuerte (Strong Wind, 1950), El Papa Verde (The Green Pope, 1954), and Los ojos de los enterrados (The Eyes of the Interred, 1960). The trilogy takes as its focus the impact of outside control on the banana industry in Central America. Signed and/or first edition copies of any of the three novels in the trilogy can cost several thousand dollars. If you aren’t looking to acquire a pricey collectible but would just like a reading copy for your shelves, any of the titles in the trilogy still make beautiful additions to one’s library. The storylines in each and the discussion of politics and exploitation were acclaimed in both the East and the West. Asturias even eventually earned the Lenin Peace Prize for his writing.
Pablo Neruda
Pablo Neruda was a Chilean poet who won the Nobel Prize in Literature in 1971 "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams". Indeed, Neruda’s poetry is breathtaking and his influence is vast. In discussing Neruda with Plinio Apuleyo Mendoza for their book of conversations titled The Frangrance of Guava, legendary novelist Gabriel García Márquez described Neruda as “the greatest poet of the 20th century in any language.” His poems have been widely translated, and he amassed devoted readers around the world. Here are a few good places to begin or continue with your own Neruda collection.
When we interviewed Mark Eisner, a Neruda translator and editor, he told us how he was struck by the fact that most people he interviewed for his documentary project on the author cited Canto General, Neruda’s “epic interpretation of this history of the Americas, a bible like book of the history of the Americas,” as their favorite and most important book. As one interviewee put it: “It shows us the Americas’ history from a different point of view...We could call it the history told by the conquered.”
If you’d like to have a collectible copy of Canto General on your shelves, first determine whether you’d like the Spanish language original text or a translated version. First editions of Canto General were published in 1950 by Talleres Gráficos de la Nación in Mexico. The endpapers of this edition were illustrated by David Siqueiros and Diego Rivera. A limited edition print run of 300 copies was done for subscribers—each of the 300 copies was signed by Neruda, Siqueiros, and Rivera. Such a copy in fine condition will sell for over $6,000. The first U.S. edition of the book was published in 1991 by the University of California Press. The translation was done by Jack Schmitt. Copies of the first U.S. edition are much more budget-friendly. A book in fine condition will sell for $100-$150.
Second edition copies of Canto General were published in 1952 by Océano in Mexico. They, too, are much more reasonably priced for the modest collector. A fine or near fine copy of the second edition costs about $200-$300.
Another option for the collector interested in Canto General is to look for separately bound and published copies of poems included in the collection. For example, the Second Canto (of fifteen) in Canto General is titled “The Heights of Macchu Picchu.” The collection of poems which make up this particular Canto was published and translated on its own before Canto General was published as a whole. The first edition of “The Heights of Macchu Picchu” was published by Ediciones de Libreria Neira, Santiago de Chile in 1948. A copy of this text can cost nearly $4,000. English translations of these poems were completed by Hoffman Reynolds Hays in 1948 and published in literary journals in the late 1940s.
Moving on from Canto General to one of Neruda’s most widely read and recognizable works: Twenty Love Poems and a Song of Despair. This is a necessary addition to your Neruda collection. First published in 1924 by Nascimento in Santiago, Chile as Veinte poemas de amor y una canción desesperada, a copy in fine condition will sell for around $15,000. While this may not be realistic for many collectors, rest assured that a second edition copy of the same title (published by Nascimento in Santiago in 1932) sells for a couple hundred dollars. First English translations of the text were completed by W.S. Merlin, and Jonathan Cape published a bilingual version of the book in 1969 which Penguin Books reprinted in 2004.
Finally (but not really finally—we’ve only scratched the surface), Neruda’s Memoirs is another outstanding collectible. Memoirs was originally published as Confieso que he vivido: Memorias in 1974 in both a Spanish and Mexican edition. The first U.S. edition with a translation by Hardie St. Martin was published by Farrar, Straus and Giroux in New York in 1977. These editions cost a couple hundred dollars.
For more information about Pablo Neruda, and to perhaps spark your collecting curiosity, check out our posts on visiting his homes, the politics of exhuming his body, Copper Canyon’s release of his “lost poems” (another noteworthy, present day collectible!), and our full interview with Mark Eisner.
For more information about our previous Latin American Nobel laureate spotlight on Gabriela Mistral and Mario Vargas Llosa, click here.
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correct_award_00058
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1
| 87
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https://books.google.com/books/about/Mr_President.html%3Fid%3DBrpHEAAAQBAJ
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en
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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correct_award_00058
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FactBench
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3
| 4
|
https://en.wikipedia.org/wiki/Nobel_Prize_in_Literature
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en
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Nobel Prize in Literature
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2001-10-03T11:10:34+00:00
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en
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https://en.wikipedia.org/wiki/Nobel_Prize_in_Literature
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Prize established in 1895 by Alfred Nobel
For a list of the award's laureates, see List of Nobel laureates in Literature.
Award
Nobel Prize in LiteratureAwarded forOutstanding contributions in literatureLocationStockholm, SwedenPresented bySwedish AcademyReward(s)11 million SEK (2023)[1]First awarded1901Last awarded2023Currently held byJon Fosse (2023)Websitenobelprize .org
← 2022 · 2023 · 2024 →
The Nobel Prize in Literature (here meaning for literature; Swedish: Nobelpriset i litteratur) is a Swedish literature prize that is awarded annually, since 1901, to an author from any country who has, in the words of the will of Swedish industrialist Alfred Nobel, "in the field of literature, produced the most outstanding work in an idealistic direction" (original Swedish: den som inom litteraturen har producerat det utmärktaste i idealisk riktning).[2][3] Though individual works are sometimes cited as being particularly noteworthy, the award is based on an author's body of work as a whole. The Swedish Academy decides who, if anyone, will receive the prize.
The academy announces the name of the laureate in early October. It is one of the five Nobel Prizes established by the will of Alfred Nobel in 1895. Literature is traditionally the final award presented at the Nobel Prize ceremony. On some occasions, the award has been postponed to the following year, most recently in 2018.[4][5][6]
Background[edit]
Alfred Nobel stipulated in his last will and testament that his money be used to create a series of prizes for those who confer the "greatest benefit on mankind" in physics, chemistry, peace, physiology or medicine, and literature.[7][8] Although Nobel wrote several wills during his lifetime, the last was written a little over a year before he died, and it was signed at the Swedish-Norwegian Club in Paris on 27 November 1895.[9][10] Nobel bequeathed 94% of his total assets, 31 million Swedish kronor (US$198 million, €176 million in 2016), to establish and endow the five Nobel Prizes.[11] Due to the level of scepticism surrounding the will, it was not until 26 April 1897 that the Storting (Norwegian Parliament) approved it.[12][13] The executors of his will were Ragnar Sohlman and Rudolf Lilljequist, who formed the Nobel Foundation to take care of Nobel's fortune and organise the prizes.
The members of the Norwegian Nobel Committee that were to award the Peace Prize were appointed shortly after the will was approved. The prize-awarding organisations followed: the Karolinska Institutet on 7 June, the Swedish Academy on 9 June, and the Royal Swedish Academy of Sciences on 11 June.[14][15] The Nobel Foundation then reached an agreement on guidelines for how the Nobel Prize should be awarded. In 1900, the Nobel Foundation's newly created statutes were promulgated by King Oscar II.[13][16][17] According to Nobel's will, the prize in literature should be determined by "the Academy in Stockholm", which was specified by the statutes of the Nobel Foundation to mean the Swedish Academy.[18]
Nomination and award procedure[edit]
For a more comprehensive list, see List of nominees for the Nobel Prize in Literature.
Each year, the Swedish Academy sends out requests for nominations of candidates for the Nobel Prize in Literature. Members of the Academy, members of literature academies and societies, professors of literature and language, former Nobel literature laureates, and the presidents of writers' organisations are all allowed to nominate a candidate. It is not allowed to nominate oneself.[19]
Between the years 1901 and 1950, around 20 to 35 nominations were usually received each year.[20] Today thousands of requests are sent out each year, and as of 2011 about 220 proposals were returned.[21] These proposals must be received by the Academy by 1 February, after which they are examined by the Nobel Committee, a working group within the Academy comprising four to five members.[22] By April, the committee narrows the field to around 20 candidates.[21] By May, a shortlist of five names is approved by the Academy.[21] The next four months are spent reading and reviewing the works of the five candidates.[21] In October, members of the Academy vote, and the candidate who receives more than half of the votes is named the Nobel laureate in Literature. No one can get the prize without being on the list at least twice; thus, many authors reappear and are reviewed repeatedly over the years.[21] The academicians read works in their original language, but when a candidate is shortlisted from a language that no member masters, they call on translators and oath-sworn experts to provide samples of that writer's work.[21] Other elements of the process are similar to those of other Nobel Prizes.[22] The Swedish Academy is composed of 18 members who are elected for life and, until 2018, not technically permitted to leave.[23] On 2 May 2018, King Carl XVI Gustaf amended the rules of the academy and made it possible for members to resign. The new rules also mention that a member who has been inactive in the work of the academy for more than two years can be asked to resign.[24][25] The members of the Nobel committee are elected for a period of three years from among the members of the academy and are assisted by specially appointed expert advisers.[26]
The award is usually announced in October. Sometimes, however, the award has been announced the year after the nominal year, the latest such case being the 2018 award. In the midst of controversy surrounding claims of sexual assault, conflict of interest, and resignations by officials, on 4 May 2018, the Swedish Academy announced that the 2018 laureate would be announced in 2019 along with the 2019 laureate.[5][4] Some years, such as in 1949, no candidate received the required majority of the votes, and for that reason, the prize was postponed and announced the following year.[27]
Prizes[edit]
A Literature Nobel Prize laureate receives a gold medal, a diploma bearing a citation, and a sum of money.[28] The amount of money awarded depends on the income of the Nobel Foundation that year.[29] The literature prize can be shared between two, but not three, laureates.[30] If a prize is awarded jointly, the prize money is split equally between them.[31]
The prize money of the Nobel Prize has been fluctuating since its inauguration but as of 2012 it stood at kr 8,000,000 (about US$1,100,000), previously it was kr 10,000,000.[32][33][34] This was not the first time the prize amount was decreased—beginning with a nominal value of kr 150,782 in 1901 (worth 8,123,951 in 2011 SKr) the nominal value has been as low as kr 121,333 (2,370,660 in 2011 SKr) in 1945—but it has been uphill or stable since then, peaking at an SKr-2011 value of 11,659,016 in 2001.[34]
The laureate is also invited to give a lecture during "Nobel Week" in Stockholm; the highlight is the prize-giving ceremony and banquet on 10 December.[35] It is the second richest literary prize in the world.
Medals[edit]
Main article: Nobel Prize medal § Literature
The literature medal features a portrait of Alfred Nobel in left profile on the obverse.[36] It was designed by Erik Lindberg.[36] The reverse of the medal depicts a 'young man sitting under a laurel tree who, enchanted, listens to and writes down the song of the Muse'.[37][36] It is inscribed "Inventas vitam iuvat excoluisse per artes" ("It is beneficial to have improved (human) life through discovered arts"), an adaptation of "inventas aut qui vitam excoluere per artes" from line 663 of book 6 of the Aeneid by the Roman poet Virgil.[37] A plate below the figures is inscribed with the name of the recipient. The text "ACAD. SUEC." denoting the Swedish Academy is also inscribed on the reverse.[37]
Between 1902 and 2010, the Nobel Prize medals were struck by the Myntverket, the Swedish royal mint, located in Eskilstuna. In 2011, the medals were made by the Det Norske Myntverket in Kongsberg. The medals have been made by Svenska Medalj in Eskilstuna since 2012.[36]
Diplomas[edit]
Nobel laureates receive a diploma directly from the King of Sweden. Each diploma is uniquely designed by the prize-awarding institutions for the laureate who receives it.[38] The diploma contains a picture and text that states the name of the laureate and normally a citation of why they received the prize.[38]
Laureates[edit]
For a more comprehensive list, see List of Nobel laureates in Literature.
The Nobel Prize in Literature has been awarded 116 times between 1901 and 2023 to 120 individuals: 103 men and 17 women. The prize has been shared between two individuals on four occasions. It was not awarded on seven occasions. The laureates have included writers in 25 different languages. The youngest laureate was Rudyard Kipling, who was 41 years old when he was awarded in 1907. The oldest laureate to receive the prize was Doris Lessing, who was 88 when she was awarded in 2007. It has been awarded posthumously once, to Erik Axel Karlfeldt in 1931. On some occasions, the awarding institution, the Swedish Academy, has awarded the prize to its own members; Verner von Heidenstam in 1916, the posthumous prize to Karlfeldt in 1931, Pär Lagerkvist in 1951, and the shared prize to Eyvind Johnson and Harry Martinson in 1974. Selma Lagerlöf was elected a member of the Swedish Academy in 1914, five years after she was awarded the Nobel Prize in 1909. Three writers have declined the prize, Erik Axel Karlfeldt in 1919,[39] Boris Pasternak in 1958 ("Accepted first, later caused by the authorities of his country (Soviet Union) to decline the Prize", according to the Nobel Foundation) and Jean-Paul Sartre in 1964. [40]
Interpretations of Nobel's guidelines[edit]
Alfred Nobel's guidelines for the prize, stating that the candidate should have bestowed "the greatest benefit on mankind" and written "in an idealistic direction," have sparked much discussion. In the early history of the prize, Nobel's "idealism" was read as "a lofty and sound idealism." The set of criteria, characterised by its conservative idealism, holding church, state, and family sacred, resulted in prizes for Bjørnstjerne Bjørnson, Rudyard Kipling, and Paul Heyse. During World War I, there was a policy of neutrality, which partly explains the number of awards to Scandinavian writers. In the 1920s, "idealistic direction" was interpreted more generously as "wide-hearted humanity," leading to awards for writers like Anatole France, George Bernard Shaw, and Thomas Mann. In the 1930s, "the greatest benefit on mankind" was interpreted as writers within everybody's reach, with authors like Sinclair Lewis and Pearl Buck receiving recognition. From 1946, a renewed Academy changed focus and began to award literary pioneers like Hermann Hesse, André Gide, T. S. Eliot, and William Faulkner. During this era, "the greatest benefit on mankind" was interpreted in a more exclusive and generous way than before. Since the 1970s, the Academy has often given attention to important but internationally unnoticed writers, awarding writers like Isaac Bashevis Singer, Odysseus Elytis, Elias Canetti, and Jaroslav Seifert.
From 1986, the Academy acknowledged the international horizon in Nobel's will, which rejected any consideration of the nationality of the candidates, and awarded authors from all over the world, such as Wole Soyinka from Nigeria, Naguib Mahfouz from Egypt, Octavio Paz from Mexico, Nadine Gordimer from South Africa, Derek Walcott from St. Lucia, Toni Morrison, the first African-American on the list, Kenzaburo Oe from Japan, and Gao Xingjian, the first laureate to write in Chinese.[18] In the 2000s, V. S. Naipaul, Mario Vargas Llosa, and the Chinese writer Mo Yan have been awarded, but the policy of "a prize for the whole world" has been less noticeable as the Academy has mostly awarded European and English-language writers from the Western literary tradition. In 2015, a rare prize to a non-fiction writer was awarded to Svetlana Alexievich.[41]
Shared prize[edit]
The Nobel Prize in Literature can be shared between two individuals. However, the Academy has been reluctant to award shared prizes, mainly because divisions are liable to be interpreted as a result of a compromise. The shared prizes awarded to Frederic Mistral and José Echegaray in 1904 and to Karl Gjellerup and Henrik Pontoppidan in 1917 were, in fact, both results of compromises. The Academy has also hesitated to divide the prize between two authors, as a shared prize runs the risk of being regarded as only half a laurel. Shared prizes are exceptional, and more recently, the Academy has awarded a shared prize on only two occasions, to Shmuel Yosef Agnon and Nelly Sachs in 1966, and to Eyvind Johnson and Harry Martinson in 1974.[18]
Recognition of a specific work[edit]
Nobel Prize Laureates in Literature are awarded for the author's life work, but on some occasions, the Academy has singled out a specific work for particular recognition. For example, Knut Hamsun was awarded in 1920 "for his monumental work, Growth of the Soil"; Thomas Mann in 1929 "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature"; John Galsworthy in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga"; Roger Martin du Gard in 1937 "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault"; Ernest Hemingway in 1954 "for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea; and for the influence that he has exerted on contemporary style"; and Mikhail Sholokhov in 1965 "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people".[40]
[edit]
Nominations are kept secret for fifty years until they are publicly available at The Nomination Database for the Nobel Prize in Literature. Currently, only nominations submitted between 1901 and 1973 are available for public viewing.[42]
What about the rumours circling around the world about certain people being nominated for the Nobel Prize this year? – Well, either it's just a rumour, or someone among the invited nominators has leaked information. Since the nominations are kept secret for 50 years, you'll have to wait until then to find out.[43]
— in Nomination FAQ – Frequently Asked Questions about the Nomination and Selection of Nobel Laureates
Nominated candidates are usually considered by the Nobel committee for years, but it has happened on a number of occasions that an author have been instantly awarded after just one nomination. Apart from the first laureate in 1901, Sully Prudhomme, these include Theodor Mommsen in 1902, Rudolf Eucken in 1908, Paul Heyse in 1910, Rabindranath Tagore in 1913, Sinclair Lewis in 1930, Luigi Pirandello in 1934, Pearl Buck in 1938, William Faulkner in 1950 (the prize for 1949) and Bertrand Russell in 1950.[40]
Former recipients of the Nobel Prize in Literature are allowed to nominate their candidates for the prize and sometimes their proposals have subsequently been awarded the prize. The 1912 laureate Gerhart Hauptmann nominated Verner von Heidenstam (awarded in 1916) and Thomas Mann (awarded in 1929), the 1915 laureate Romain Rolland proposed Ivan Bunin (awarded in 1933), Thomas Mann nominated Hermann Hesse (awarded in 1946) in 1931, the 1951 laureate Pär Lagerkvist was proposed by both André Gide and Roger Martin du Gard, and the 1960 laureate Saint-John Perse was nominated several times by the 1948 laureate T. S. Eliot.[44][45][46]
Criticism[edit]
Although the Nobel Prize in Literature has become the world's most prestigious literature prize,[47] the Swedish Academy has attracted significant criticism for its handling of the award. Many authors who have won the prize have fallen into obscurity, while others rejected by the jury remain widely studied and read. In the Wall Street Journal, Joseph Epstein wrote, "You might not know it, but you and I are members of a club whose fellow members include Leo Tolstoy, Henry James, Anton Chekhov, Mark Twain, Henrik Ibsen, Marcel Proust, James Joyce, Jorge Luis Borges and Vladimir Nabokov. The club is the Non-Winners of the Nobel Prize in Literature. All these authentically great writers, still alive when the prize, initiated in 1901, was being awarded, didn't win it."[48] Other notable names from the non-western canon who were ignored despite being nominated several times for the prize include Sri Aurobindo and Sarvepalli Radhakrishnan. The prize has "become widely seen as a political one – a peace prize in literary disguise", whose judges are prejudiced against authors with political tastes different from theirs.[49] Tim Parks has expressed skepticism that it is possible for "Swedish professors ... [to] compar[e] a poet from Indonesia, perhaps translated into English with a novelist from Cameroon, perhaps available only in French, and another who writes in Afrikaans but is published in German and Dutch...".[50] As of 2021, 16 of the 118 recipients have been of Scandinavian origin. The Academy has often been alleged to be biased towards European, and in particular Swedish, authors.[51]
Nobel's "vague" wording for the criteria for the prize has led to recurrent controversy. In the original Swedish, the word idealisk translates as "ideal."[3][52] The Nobel Committee's interpretation has varied over the years. In recent years, this means a kind of idealism championing human rights on a broad scale.[3][53]
Controversies about Nobel laureate selections[edit]
Main article: Nobel Prize controversies § Literature
From 1901 to 1912, the committee, led by the conservative Carl David af Wirsén, assessed the literary quality of a work in relation to its contribution to humanity's pursuit of the "ideal." Leo Tolstoy, Henrik Ibsen, Émile Zola, and Mark Twain were rejected in favour of authors who mostly are little read today.[52][54]
Later, the prize has often been controversial due to the Swedish Academy's Eurocentric choices of laureates, or for political reasons, as seen in the years 1970, 2005, and 2019, and for the Academy awarding its own members, as happened in 1974.[55]
Nationality-based criticism[edit]
The prize's focus on European men, and Swedes in particular, has been the subject of criticism, even from Swedish newspapers.[56] The majority of laureates have been European, with Sweden itself receiving more prizes (8) than all of Asia (7, if Turkish Orhan Pamuk is included), as well as all of Latin America (7, if Saint Lucian Derek Walcott is included). In 2009, Horace Engdahl, then the permanent secretary of the Academy, declared that "Europe still is the centre of the literary world" and that "the US is too isolated, too insular. They don't translate enough and don't really participate in the big dialogue of literature."[57]
In 2009, Engdahl's replacement, Peter Englund, rejected this sentiment ("In most language areas ... there are authors that really deserve and could get the Nobel Prize and that goes for the United States and the Americas, as well") and acknowledged the Eurocentric nature of the award, saying that, "I think that is a problem. We tend to relate more easily to literature written in Europe and in the European tradition."[58] American critics are known to object that those from their own country, like Philip Roth, Thomas Pynchon, and Cormac McCarthy, have been overlooked, as have Latin Americans such as Jorge Luis Borges, Julio Cortázar, and Carlos Fuentes, while in their place Europeans lesser-known to that continent have triumphed. The 2009 award to Herta Müller, previously little-known outside Germany but many times named favourite for the Nobel Prize, re-ignited the viewpoint that the Swedish Academy was biased and Eurocentric.[59]
The 2010 prize was awarded to Mario Vargas Llosa, a native of Peru in South America, a generally well-regarded decision. When the 2011 prize was awarded to the Swedish poet Tomas Tranströmer, permanent secretary of the Swedish Academy Peter Englund said the prize was not decided based on politics, describing such a notion as "literature for dummies."[60] The Swedish Academy awarded the next two prizes to non-Europeans, Chinese author Mo Yan and Canadian short story writer Alice Munro. French writer Patrick Modiano's win in 2014 renewed questions of Eurocentrism; when asked by The Wall Street Journal "So no American this year, yet again. Why is that?", Englund reminded Americans of the Canadian origins of the previous year's recipient, the Academy's desire for literary quality and the impossibility of rewarding everyone who deserves the prize.[61]
Overlooked literary achievements[edit]
In the history of the Nobel Prize in Literature, many critical literary figures were ignored. The literary historian Kjell Espmark admitted that "as to the early prizes, the censure of bad choices and blatant omissions is often justified. Tolstoy, Ibsen, and Henry James should have been rewarded instead of, for instance, Sully Prudhomme, Eucken, and Heyse."[62] There are omissions which are beyond the control of the Nobel Committee such as the early death of an author as was the case with Marcel Proust, Italo Calvino, and Roberto Bolaño. According to Kjell Espmark, "the main works of Kafka, Cavafy, and Pessoa were not published until after their deaths, and the true dimensions of Mandelstam's poetry were revealed above all in the unpublished poems that his wife saved from extinction and gave to the world long after he had perished in his Siberian exile."[62] British novelist Tim Parks ascribed the never-ending controversy surrounding the decisions of the Nobel Committee to the "essential silliness of the prize and our own foolishness at taking it seriously"[63] and noted that "eighteen (or sixteen) Swedish nationals will have a certain credibility when weighing up works of Swedish literature, but what group could ever really get its mind round the infinitely varied work of scores of different traditions. And why should we ask them to do that?"[63]
Although several Scandinavians were awarded, two of the most celebrated writers, Norwegian playwright Henrik Ibsen and Swedish author August Strindberg, were repeatedly bypassed by the committee, but Strindberg holds the singular distinction of being awarded an Anti-Nobel Prize, conferred by popular acclaim and national subscription and presented to him in 1912 by future prime minister Hjalmar Branting.[64][65][66]
Paul Valéry was nominated twelve times between 1930 and 1945 but died just as the Academy intended to award him the prize in 1945.[67][68]
James Joyce wrote the books that rank 1st and 3rd on the Modern Library 100 Best Novels – Ulysses and Portrait of the Artist as a Young Man – but Joyce was never nominated for the prize. Kjell Espmark, a member of the Nobel Prize committee and author of the history of the prize, claimed that Joyce's "stature was not properly recognized even in the English-speaking world," but that Joyce doubtless would have been awarded if he had lived in the late 1940s when the Academy began to award literary pioneers like T. S. Eliot.[69]
Argentine writer Jorge Luis Borges was nominated for the prize several times, but the Academy did not award it to him, though he was among the final candidates some years in the 1960s.[70]
Graham Greene was nominated for the prize twenty-six times between the years 1950 and 1971.[71] Greene was a celebrated candidate to be awarded the prize in the 1960s and 1970s, and the Academy was criticised for passing him over.[18]
French novelist and intellectual André Malraux was seriously considered for the prize in the 1950s. Malraux was competing with Albert Camus but was rejected several times, especially in 1954 and 1955, "so long as he does not come back to novel." Thus, Camus was awarded the prize in 1957.[72] Malraux was again considered in 1969 when he was competing with Samuel Beckett for the prize. Some members of the Nobel committee supported a prize to Malraux, but Beckett was awarded.[73]
W. H. Auden was nominated for the Nobel Prize in Literature nineteen times between 1961 and 1971,[74] and was among the final candidates for the prize several times, but the Academy favoured other writers. In 1964 Auden and Jean-Paul Sartre were the leading candidates, and the Academy favoured Sartre as Auden's best work was thought "too far back in time." In 1967 Auden was one of three final candidates along with Graham Greene and the awarded Guatemalan author Miguel Ángel Asturias.[75][76]
Controversies about Swedish Academy board members[edit]
Membership in the 18-member academy, who select the recipients, is technically for life.[23] Until 2018, members were not allowed to leave, although they might refuse to participate.[23] For members who did not participate, their board seat was left vacant until they died.[77] Twelve active/participating members are required for a quorum.[77]
In 1989, three members, including the former permanent secretary Lars Gyllensten, resigned in protest after the academy refused to denounce Ayatollah Ruhollah Khomeini for calling for the death of Salman Rushdie, author of The Satanic Verses.[23] A fourth member, Knut Ahnlund, decided to remain in the academy but later refused to participate in their work and resigned in 2005 in protest of the Nobel Prize in Literature awarded to Elfriede Jelinek. According to Ahnlund, the decision to award Jelinek ruined the worth of the Nobel Prize in Literature for a long time.[78][79]
2018 controversy and award cancellation[edit]
In April 2018, three members of the academy board resigned in response to a sexual misconduct investigation involving author Jean-Claude Arnault, who is married to board member Katarina Frostenson.[77] Arnault was accused by at least 18 women of sexual assault and harassment. He and his wife were also accused of leaking the names of prize recipients on at least seven occasions so friends could profit from bets.[80][77] He denied all accusations, although he was later convicted of rape and sentenced to two years and six months in prison.[81][82][83] Sara Danius, the board secretary, hired a law firm to investigate if Frostenson had leaked confidential information and if Arnault had any influence on the Academy, but no legal action was taken. The investigation caused a split within the Academy. Following a vote to exclude board member Frostenson, the three members resigned in protest over the decisions by the Academy.[77][23][84] Two former permanent secretaries, Sture Allén and Horace Engdahl, called Danius a weak leader.[77]
On 10 April, Danius was asked to resign from her position by the Academy, bringing the number of empty seats to four.[85] Although the Academy voted against removing Katarina Frostenson from the committee,[86] she voluntarily agreed to withdraw from participating in the academy, bringing the total of withdrawals to five. Because two other seats were still vacant from the Rushdie affair, this left only 11 active members, one short of the quorum needed to vote in replacements. On 4 May 2018, the Swedish Academy announced that the selection would be postponed until 2019, when two laureates would be chosen. It was still technically possible to choose a 2018 laureate, as only eight active members are required to choose a recipient. However, there were concerns that the academy was not in any condition to credibly present the award.[4][5][6][87] The New Academy Prize in Literature, not affiliated with either the Nobel Foundation or the Swedish Academy, was created as an alternative award for 2018 only.[88] The first and only New Academy Prize in Literature was won by Maryse Condé, a writer from Guadeloupe noted for her novels Segu, Tree of Life: A Novel of the Caribbean and Windward Heights.[89]
The scandal was widely seen as damaging to the credibility of the prize and its authority.[77] As noted by Andrew Brown in The Guardian in a lengthy deconstruction of the scandal:
"The scandal has elements of a tragedy, in which people who set out to serve literature and culture discovered they were only pandering to writers and the people who hang around with them. The pursuit of excellence in art was entangled with the pursuit of social prestige. The academy behaved as if the meals in its clubhouse were as much an accomplishment as the work that got people elected there."[90]
King Carl XVI Gustaf of Sweden said a reform of the rules may be evaluated, including the introduction of the right to resign in respect of the current lifelong membership of the committee.[91] On 5 March 2019, it was announced that the Nobel Prize in Literature would once again be awarded, and laureates for both 2018 and 2019 would be announced together. The decision came after several changes were made to the structure of the Swedish Academy as well as to the Nobel Committee members selection, in order to "[restore] trust in the Academy as a prize-awarding institution".[92]
Similar international prizes[edit]
The Nobel Prize in Literature is not the only literary prize for which all nationalities are eligible. Other notable international literary prizes include the Neustadt International Prize for Literature, the Jerusalem Prize, Franz Kafka Prize, the International Booker Prize, and the Formentor Prix International. The journalist Hephzibah Anderson has noted that the International Booker Prize "is fast becoming the more significant award, appearing an ever more competent alternative to the Nobel".[93] However, since 2016, the International Booker Prize now recognises an annual book of fiction translated into English.[94] Previous winners of the International Booker Prize who have gone on to win the Nobel Prize in Literature include Alice Munro and Olga Tokarczuk. The Neustadt International Prize for Literature is regarded as one of the most prestigious international literary prizes, often referred to as the American equivalent of the Nobel Prize.[95][96] Like the Nobel Prize, it is awarded not for any one work but for an entire body of work. It is frequently seen as an indicator of who may be awarded the Nobel Prize in Literature. Gabriel García Márquez (1972 Neustadt, 1982 Nobel), Czesław Miłosz (1978 Neustadt, 1980 Nobel), Octavio Paz (1982 Neustadt, 1990 Nobel), Tomas Tranströmer (1990 Neustadt, 2011 Nobel) were first awarded the Neustadt International Prize for Literature before being awarded the Nobel Prize in Literature.
Another award of note is the Spanish Princess of Asturias Award (formerly Prince of Asturias Award) in Letters. During the first years of its existence, it was almost exclusively awarded to writers in the Spanish language, but in more recent times, writers in other languages have been awarded as well. Writers who have won both the Asturias Award in Letters and the Nobel Prize in Literature include Camilo José Cela, Günter Grass, Doris Lessing, and Mario Vargas Llosa.
The non-monetary America Award in Literature presents itself as an alternative to the Nobel Prize. Peter Handke, Harold Pinter, José Saramago, and Mario Vargas Llosa are the only writers to have received both the America Award and the Nobel Prize in Literature.
There are also prizes for honouring the lifetime achievement of writers in specific languages, like the Miguel de Cervantes Prize (for Spanish language, established in 1976) and the Camões Prize (for Portuguese language, established in 1989). Nobel laureates who were also awarded the Miguel de Cervantes Prize include Octavio Paz (1981 Cervantes, 1990 Nobel); Mario Vargas Llosa (1994 Cervantes, 2010 Nobel); and Camilo José Cela (1995 Cervantes, 1989 Nobel). José Saramago is the only author to receive both the Camões Prize (1995) and the Nobel Prize (1998) to date.
The Hans Christian Andersen Award is sometimes referred to as "the Little Nobel". The award has earned this appellation since, in a similar manner to the Nobel Prize in Literature, it recognises the lifetime achievement of writers, though the Andersen Award focuses on a single category of literary works (children's literature).[97]
See also[edit]
References[edit]
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https://www.facebook.com/TN23NOTICIAS/videos/familiares-de-miguel-%25C3%25A1ngel-asturias-detallan-los-planes-para-su-repatriaci%25C3%25B3n/377254832003635/
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Familiares de Miguel Ángel Asturias detallan los planes para su repatriación
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Familiares de Miguel Ángel Asturias detallan los planes para su repatriación
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https://www.facebook.com/TN23NOTICIAS/videos/familiares-de-miguel-%C3%A1ngel-asturias-detallan-los-planes-para-su-repatriaci%C3%B3n/377254832003635/
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https://www.asymptotejournal.com/blog/writer/miguel-angel-asturias/
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Miguel Ángel Asturias – Writer(s) – Asymptote Blog
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This week, our editors take us through Central America, France, and China to explore the reaches of literature, from a transcendent event honouring the poems of Robert Bolaño, to the new World Book Capital in France, and works featuring vital new voices from the Chinese language. Read on to find out more!
Rubén López, Editor-at-Large, reporting from Central America
When I entered the room, it looked like a coven: a group of people gathered around an edition of Roberto Bolaño’s Complete Poetry. Each member of the group would take turns to step into the centre, leaf through the text for a moment, and then recite one of the Chilean author’s poems at random, like a poetic Russian roulette. As I took my seat, one of the young men was reading the final verses of “The Romantic Dogs”. I had arrived at the event without much certainty about what it would be like; the poster from Perjura Proyecto, a cultural and artistic dissemination space, only said “The Poetry Came” and had a sketch of Bolaño’s silhouette. And, of course, it also mentioned the date and time—May 23, 17:00.
When it was my turn, I decided I wanted to read “Godzilla in Mexico”, my favorite poem by Bolaño. I clumsily flipped through the text while trying to make conversation with the rest of the participants, but I couldn’t find it. I apologised to the group because I would break the Russian roulette and put the bullet in the centre; I searched for it on my phone. As I recited “Yo leía en la habitación de al lado cuando supe que íbamos a morir”, I was overcome with a deep tenderness. I saw us, in the midst of a vertiginous and infamous city—a group of no more than ten people gathered to read Bolaño’s poems to each other. I thought about the infinite forms of cultural resistance in which we exist, all self-managed, all on the margins, all filled with beauty. READ MORE…
Guatemalan scholar Rita M. Palacios’ body of work reexamines the hegemonies that mediate literary, cultural, and knowledge production, particularly in Maya oral storytelling, literature, and material culture. In the book she co-authored with Asymptote’s former editor-at-large for Mexico, Paul M. Worley, Unwriting Maya Literature: Ts’íib as Recorded Knowledge (University of Arizona Press, 2019), they argued for a decentering from the Euro-American critical vocabulary of literary theory and arts criticism through the lens of ts’íib—”an understanding of Maya artistic and cultural production that includes and exceeds the written word.” Drawing from Maya artists and authors such as Calixta Gabriel Xiquín, Waldemar Noh Tzec, and Humberto Ak’abal, whose œuvre range from murals to textiles, from cha’anil (‘performatic’) to ceramics, from monuments to poetry, Palacios and Worley make the case for the ts’íib as one of the various Indigenous-centric departures from and unlearnings of our colonial worldviews on literary production and knowledge systems.
In this interview, I conversed with Dr. Palacios on ts’íib as a form of autohistorical knowledge production that is beyond the Western imaginary, the Maya and non-Ladino writers and writings within Guatemalan and Central American literatures, and the rightful refusals against translation.
Alton Melvar M Dapanas (AMMD): In a conversation on Mexican and Guatemalan literatures with Paul M. Worley, you said
[T]he many challenges (structural racism, censorship, a lack of government funding, to name a few) that writers in countries in the Majority World face directly impact how and what is written, how it’s published, and who it reaches, and so we, readers and critics, would do well to pay attention.
Can you speak more about these gaps and dissimilarities in terms of knowledge production, especially in literature, in the Global Majority versus the North Atlantic?
Rita M. Palacios (RMP): Given the way Western political and economic powers have shaped our world, the anglophone North Atlantic enjoys a certain monopoly over the manner in which we think and write about each other, privileging certain modes of artistic production over others, as well as creators, reading publics, and even the critics. This is not to say that we are helpless or that we are wholly bound by a system that privileges and rewards those who uphold it. It does mean that things are much more challenging for those who live, think, and create outside those parameters.
Generally, when it comes to literature, that which is written, packaged, and sold by the millions is not a literature that aims to represent us all, but a literature that affirms the places (real and imagined) we already occupy and the systems built around them so that we continue to inhabit these spaces, sustaining those big great powers. Despite the challenges their authors face, the literatures of the Global Majority are rich, diverse, and challenging; they are multilingual, multivocal, and multiversal. Rarely are these literatures sold in the same manner as blockbuster novels because of the threat they pose. And these authors recognize the danger of being subsumed into “national” or canonical literatures, as is the case with Mikel Ruíz (Tsotsil) who notes the tokenization of Indigenous literatures in Mexico (2019). READ MORE…
Join us this week with a new batch of literary dispatches covering a new Palestinian literary and culture magazine, the 2023 PEN Open Book Award longlist, and more. From a Palestinian literary festival to the birthday celebration for the “national poet” of Romania, read on to learn more!
Carol Khoury, Editor-at-Large, reporting from Palestine
A first is always exciting, always an event; in fact, it’s called “a first” even if a second never comes. And when there is a second time, it’s an opportunity to celebrate and to remember the first.
This week the Palestinian literary community is anticipating both a first and a second.
The Palestinian literary scene is witnessing the birth of Fikra Magazine, an online Palestinian cultural and literary magazine – writing and art by and for Palestinians. According to partners and co-founders Aisha and Kevin, Fikra is dedicated to “high-quality content that doesn’t conform to stereotypes and old-fashioned ideas about Palestine. It’s original, it’s inspiring, it’s bold.” What is exciting about this new publication is that every piece is professionally translated from Arabic to English—or vice versa. Since “Palestinians in the Diaspora often don’t read Arabic as their mother tongue,” the creators say in their promotional materials, “we want our writers to become part and parcel of the international writing-guild as well.” In Fikra, the creators promise, “you’ll find Palestinian writers and artists from all corners of the word – from Gaza, the West-Bank, East-Jerusalem, 48, and the diaspora.”
READ MORE…
In 1946, Nobel Prize laureate and Guatemalan author Miguel Ángel Asturias published his magnum opus, El señor presidente, which would become one of the boldest and most inventive works of Latin American literature, an important predecessor for literary giants including Gabriel García Marquez, Mario Vargas Llosa, Isabel Allende, and Roberto Bolaño. However, the text remains relatively unknown in the English-speaking world. In this intimate and revelatory interview, Editor-at-Large José Garcia Escobar speaks with Guatemalan American author and translator David Unger on the complexities of translating Asturias’s great work into English, balancing authenticity and readability, and its political and artistic legacy.
In 2015, I was living in New York and often got together with the Guatemalan-American writer David Unger. A year prior, he had won the Miguel Ángel Asturias National Prize (Guatemala’s highest literary honor), and his novel The Mastermind (Akashic Books) had just come out.
We met every other month, more or less.
We would go to Home Sweet Harlem, on the corner of Amsterdam and 136th, or Chinelos, a Mexican restaurant just around the corner, and talk about books, translation, and life.
He told me he was flattered that Cristina García had agreed to blurb The Mastermind. He told me of the time he met and had a strong disagreement with Nicanor Parra. When Parra died in 2018, David wrote a piece for The Paris Review. He told me to go see Andrés Neuman at McNally Jackson and read more of his work. Then one day, as we walked back to his office at City College, he said, “I’m translating El señor presidente.”
READ MORE…
This week, our editors around the world report on the exciting developments in publishing and journalism. From expressions of the free press to Nobel laureates, read on for the latest from the ground in world literature!
Peera Songkünnatham, Editor-at-Large, reporting from Thailand
Launching this week, the web publication series Justice in Translation brings together urgent works from Southeast Asian languages; its first releases include an incendiary poem about children’s rights translated from Malay, a short story about how to write about dispossession translated from Filipino, and essays on legal reform and educational equity translated from Indonesian. Part of a five-year initiative on Social Justice in Southeast Asia at the University of Wisconsin-Madison, the series brings the institutional capacity of the academy in sustaining the practice of translation as advocacy in the region, giving both international exposure and small honorariums.
What “international exposure” looks like is being reconfigured through digital academy-fueled efforts like this one. As the anti-dictatorship three-finger salute drawn from The Hunger Games has spilled over Thai borders to Myanmar and other countries, so has the “broad” English-speaking audience for domestic issues, which increasingly includes people in one’s neighboring countries.
And as the “Milk Tea Alliance” spreads beyond East Asia, a sense of transregional solidarity has also pervaded public works of scholarship. Last week, the Southeast Asia-focused academic blog New Mandala, hosted by the Australian National University’s Coral Bell School of Asia Pacific Affairs, announced a partnership with the Indo-Pacific-focused independent platform 9DashLine. One can hope to see more transregional essays such as this recent one by Show Ying Xin about literary translation in plurilingual Malaysia and Singapore, which troubles the distinction between translating “within” and translating “out.” READ MORE…
Wearing a thin sweater, a colorful scarf, and a dazzling smile, Ana María welcomed us to her house in Zone 15, Guatemala City. Outside it was pouring, much like when she presented her famed Poemas de la izquierda erótica (Poems from the Erotic Left), forty-six years ago. She offered us tea—“To fight back the cold,” she said, still smiling—and told us we had to do the interview in the living room, not upstairs, because, “There are books scattered everywhere; imagine, a lifetime spent collecting books.” And, yes, one can only imagine.
Ana María Rodas, born in 1937, is a veteran Guatemalan poet, journalist, and teacher. Her career spans more than sixty years. She has released close to twenty books, and her work has been translated into English, German, and Italian. In 1990, she simultaneously won the poetry and short story categories of the Juegos Florales de México, Centroamérica y el Caribe. In 2000, she won the prestigious Miguel Ángel Asturias National Prize in Literature for her life’s work. She is also one of the leading figures of Guatemalan and Central American feminism. She has lived her whole life in Guatemala. And one cannot say this lightly. She grew up during the Jorge Ubico dictatorship (1931–1944), admired how the Guatemalan Revolution toppled Ubico in 1944, thrived during the so-called Ten Years of Spring, lamented the 1954 CIA-backed coup that removed the democratically elected, progressive president Jacobo Árbenz, and witnessed the atrocities of the Civil War (1960–1996). Many of her friends and colleagues were killed during that time. Alaíde Foppa, Irma Flaquer, and her dear friend, Luis de Lión, author of El tiempo principia en Xibalbá—considered one of the cornerstones of contemporary Central American literature. Even if she never picked up a rifle or joined the militarized resistance, her feminist struggle and intellectual defiance have influenced many generations.
She’s not a cynic, though. Or bitter. She’s hopeful. “Even though we have a brute for president,” she says, “I believe in resisting.” And resisting, Ana María has done.
But as much as Ana María is grandmotherly and warm, as much as she’s a jokester and amicable, she is also analytical, astute, and disarmingly agile. She’s a force of nature, a rising tide, and an unmovable object. Her poetry is sensitive, electric, and subversive.
READ MORE…
This week’s dispatches report on a four-day literature festival in Italian-speaking Bellinzona in Switzerland, a new podcast dedicated exclusively to Guatemalan and Central American literature, as well as news of the arrest of journalist Hajar Raissouni in Morocco and a theatre group resisting such censorship and freedom of the press violation with a performance of Don Quixote.
Anna Aresi, Copy Editor, reporting from Switzerland
An interest in mapping (often the result of conquests and colonization) and remapping—rethinking what was erased and systematically left out in the mapping process—is at the core of Lost Children Archive, Valeria Luiselli’s latest novel. In Lost Children Archive, mapping is related to sound: “Focusing on sound forced me to hear as opposed to seeing, it forced me into a different rhythm. You cannot consume sound immediately,” she explains, “when focusing on sound, you have to sit with it, let it unfold.” It is within this rhythm, she adds, that English emerged as the language that was conducive to the writing of this novel, which she had begun writing in both English and Spanish simultaneously.
Luiselli reflects on this and other aspects of her writing in an intense conversation with Italian writer Claudia Durastanti, in the intimate setting of Bellinzona’s social theater.
Every year, Bellinzona—the capital of Swiss Italophone Canton Ticino—hosts Babel Festival, a four-day event entirely dedicated to literature and translation. This year’s fourteenth edition, entitled “You will not speak my language,” explored the limits and boundaries of language and literature, as well as languages that are “imagined, invented, despised, censored, regional, silent, visual, and enigmatic.”
READ MORE…
This year marks the twenty-fifth anniversary of Guatemala’s longest-lasting publishing house, Magna Terra Editores. Founded in November 1994 by poet and novelist Gerardo Guinea—and now run by him and his son Paolo—Magna Terra has published more than two thousand books and has propelled the careers of writers across three generations. As the press nears its bodas de plata, early this month I sat down with the two editors to talk about Magna Terra’s beginnings, the press’s many houses, and transitioning from a hectic McPress to a much more Zen indie house that boasts some of the best books produced in the country. Its author list is undoubtedly proof of this.
—José García Escobar
In the early 1990s, when Magna Terra was nothing more than a dream, its founder, Gerardo Guinea, and his family were exiled to Mexico City by the Guatemalan Civil War (1960-1996). He was one of many. Other famed Guatemalan writers, such as Luis Cardoza y Aragón and Raúl Leiva, also chose to live abroad given the local political climate. After all, the government often persecuted writers. Otto René Castillo, Luis de Lión, and Alaíde Foppa are just a few of the many intellectuals the government and army killed during the war. While in Mexico, Gerardo had the chance to visit and become familiar with local publishing houses. He met with Joaquín Diez-Canedo of Joaquín Mortiz Editorial, now part of Grupo Planeta, and Carlos López of Editorial Praxis. As he watched the editors working, the books piling up on the shelves enthralled him. He wondered, as the talks of peace in Guatemala became more frequent, if he could create something similar at home. READ MORE…
Last October, the Spanish publishing house Alfaguara put out Ya nadie llora por mí, the most recent novel from the acclaimed Nicaraguan writer, Sergio Ramírez and sequel to his 2009 novel, El cielo llora por mí (The Sky Cries for Me). A couple of weeks later, the Spanish Ministry of Culture announced that Sergio was the winner of the 2017 Miguel de Cervantes Prize, the most important literary award for Spanish-language writers. Other laureates include Jorge Luis Borges, Carlos Fuentes, and Mario Vargas Llosa. Sergio is the first Central American writer to receive this distinction. He has published around thirty books, two of which have been translated into English: Divine Punishment (McPherson & Company) and the 1998 Alfaguara Prize winning novel Margarita, How Beautiful the Sea (Curbstone Books).
Three months later, Sergio and I—his umpteenth interviewer since November—got together at a fancy hotel on the misty mountains of Guatemala City, hours before he presented Ya nadie llora por mí in SOPHOS bookstore. I imagined all the questions Sergio had answered during the past few months. What does it feel like to have won it? Where were you when you got the news? Can you give us a preview of your acceptance speech? I should ask him about his favorite Guatemalan dish, I thought, to shake things up.
Sergio is kind but equally incisive, serene, and voracious. He speaks with care and potency about Central American literature, being a writer, and Centro América Cuenta. Hosted in Nicaragua, this is the biggest literary festival of the region that seeks to strengthen Central American writers and bring them closer to the rest of Ibero-America. Sergio, with a cup of coffee in his hand, is also critical of the contaminated reality of his country. A reality from which his work often comes to life.
In Ya nadie llora por mí (Nobody cries for me anymore) inspector Dolores Morales has been discharged from the National Police, and he now works as a private investigator. He mostly handles cases about adultery for clients with no money. Then the disappearance of a millionaire’s daughter takes him out of his routine. In Sergio’s latest novel we also get to see how corruption and abuse of power underlie the revolutionary discourse of contemporary Nicaragua.
“As a citizen, I desire a different reality,” he says. “As a writer, I take advantage of it.”
Sergio is arguably the most important Central American writer today.
José García Escobar (JGE): What was it like to revisit detective Dolores Morales for your latest book? Did you have the story for Ya nadie llora por mí first, and then realized you needed Dolores to tell it? Or was it the other way around?
Sergio Ramírez (SR): I came up with the story first. I wanted to write about Nicaragua today, and for this, I needed a character like Dolores: a detective and former guerrilla. Noir fiction, or novela negra, as we call it, gives me the opportunity to look at the events I’m writing about from afar. With this distance I can add humor, irony. Also, given his background, this character helped work around that distance. Dolores is often bound by his ethic, a type of ethic he picked up from his years as a guerrillero; he uses that critical thought and critical distance for his work, but at the same time he’s always at risk of getting contaminated by that environment. He observes the situations as he would have in the past and is that moral nostalgia and critical distance that allows my character to lead the book.
READ MORE…
Your weekly shot of global literary news is here! Today we travel to Austria, Costa Rica, Guatemala, and Morocco to find out about the latest prizes, performances and literary festivals.
Contributor Flora Brandl reporting from Austria:
In the southern state of Styria, the oldest Austrian festival for contemporary art, Steirischer Herbst (Styrian Autumn), recently opened with a powerful speech by the Austrian composer Georg Friedrich Haas. Styrian-born, Haas is one of the most renowned figures of the international New Music scene and currently teaches at Columbia University.
In his opening speech, Haas reflected on the dynamics of the remnants of Nazism and the burgeoning avant-garde art scene in Styria. While Nazism was always at the forefront of fighting so-called “degenerate art”—“for they knew: art is dangerous for them”—it also provided fertile grounds for a creative form of resistance: “We [artists] were spurred by the pain and the rage and the grief,” Haas recounted. He ended with an invocation that the role of artists today is to “spread the virus of humanitarianism” in the wake of a worldwide rise of fundamentalism. A political speech with a very personal note, the entire speech can be read in the original German here.
READ MORE…
Another week full of exciting news! Paul and Kelsey bring us up to speed on what’s happening in Mexico and Guatemala. We also have José García providing us with all the updates about Central American literary festivals you could wish for. Finally, we are delighted to welcome aboard our new team-members, Valent and Norman, who share news from Indonesia.
Paul Worley and Kelsey Woodbury, Editors-at-Large for Mexico, report:
In conjunction with partners such as the Forum of Indigenous Binational Organizations (FIOB) and the Indigenous Community Leadership (CIELO), the LA Public Library in California, US, recently announced that it will host the second annual Indigenous Literature Conference on July 29 and 30. As stated on Facebook, the conference’s “first day will be dedicated to the indigenous literature from (the Mexican state of) Oaxaca,” with “the second (being) broader in scope.” Among those slated to participate are the Oakland, California-based Zapotec writer and artist Lamberto Roque Hernández, Zapotec poet Natalia Toledo, and Me’phaa poet Hubert Matiuwaa, whose Xtámbaa was recently reviewed here in Asymptote.
On July 14 in Guatemala, K’iche’/Kaqchikel Maya poet Rosa Chávez announced the publication of a new poetry fanzine entitled AB YA YA LA. Limited to 40 in number, each copy is unique and contains different details.
READ MORE…
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In his will, Alfred Nobel, a Swedish industrialist who made his fortune by inventing and selling dynamite, left to posterity a sizable prize fund, stipulating that it be used each year to recognize those individuals “who shall have contributed most materially to benefit mankind.” Today, the Nobel Prize is the most prestigious and coveted award in the world. It is the undisputed arbiter of greatness in physics, chemistry, physiology or medicine, literature, and peace–the five fields specified by Nobel–as well as in economics, which was added in 1968. Winners earn not just a gold medal and great sum of money–more than $900,000 — but also a considerable measure of intellectual and moral authority. “The awards seem almost to issue not from mere Stockholm,” Burton Feldman writes in his engaging and comprehensive history, “but from some timeless Realm of Objective Judgment.”
Feldman, a professor of English recently retired from the University of Denver, celebrates the genuinely outstanding achievements that the Nobel Prize has so often served to recognize. But he is wary of the award’s unparalleled influence–and its carefully cultivated image of critical rigor. As he ably demonstrates, considerations other than mere excellence have long played a role in the bestowal of the world’s most sought-after laurel.
It is not easy to explain the success of the Nobel Prize. The Templeton Prize for progress in religion is more lucrative, and the Fields Medal in mathematics, awarded just once every four years, is harder to win. Moreover, the institutions that administer Nobel’s legacy–three Swedish academies and the Norwegian parliament–are not otherwise thought to possess any special competence in discerning the heights of human achievement.
What, then, accounts for the prize’s prestige? Feldman gives much of the credit to the grand ambitions of Nobel himself, who wished to honor excellence without regard to national or disciplinary boundaries. Against the balkanizing tendencies of the modern intellectual world, Nobel established “the first important regular prize to include not only the arts and sciences, but also politics in the form of `peace.'” Nor has it hurt that during this century of astonishing scientific progress, the prize’s recipient’s for chemistry, physics, and physiology constitute a “steady procession of greatness,” from Marie Curie, Albert Einstein, and Werner Heisenberg to James Watson and Francis Crick.
Nonetheless, Feldman shows, the Nobel’s track record is far from unblemished, even in the vaunted picks for science. During the prize’s early years, for instance, the kingmaker on both the physics and chemistry juries was Svante Arrhenius, the most famous scientist in Sweden. He backed the physical chemists in their turf war against organic chemists and helped shut geo- and astrophysics out of serious prize consideration. Such prejudices have diminished, but even so, neither the astronomer Edwin Hubble, whose observations provided evidence for the expansion of the universe, nor the geologist Alfred Wegener, who proposed the theory of continental drift, ever won the prize. In addition to oversights like these, there have been several questionable recipients, like Maurice Wilkins, who shared the 1962 prize with Watson and Crick despite having contributed little to uncovering the structure of DNA. He was included, Feldman reports, because of the behind-the-scenes maneuvering of a previous laureate who considered Wilkins the victim of “frightfully bad luck.”
Whatever the shortcomings of the science prizes, however, worse by far have been the selections for literature. Over the years the Nobel juries have ignored, among many others, Leo Tolstoy, Henrik Ibsen, Mark Twain, Marcel Proust, Henry James, Thomas Hardy, Joseph Conrad, James Joyce, and Robert Frost. Such injustices, Feldman insists, cannot be blamed on a surfeit of deserving writers. In 1901, the first year of the prize, Tolstoy’s greatness was widely recognized; yet the award went to Sully Prudhomme, “as forgettable a poet as can be found in the Nobel’s long list of mediocrities.”
The trouble, in the Feldman’s view, is that the Swedish academy responsible for the literature prize has never been able to transcend its own cultural prejudices. In the early years of the prize, when those biasers were “spiritualized and conservative,” Tolstoy was dismissed for his “abhorrent” religious sympathies, Ibsen for his “highly adventurous” views on “ethical-sexual questions,” and Hardy for portraying a God Who lacked “any sense of justice or mercy.” More recently, as Feldman is hardly the first to observe, the outlook of the jurors has been “politicized and liberal.”
In 1967, the Guatemalan novelist Miguel Angel Asturias may not have been the best writer of his day, but he was, as his Nobel citation explained, an ardent foe of tyranny, slavery, injustice, and the American trusts–which no doubt explains why he had been awarded the USSR’s Lenin Peace Prize just a year earlier. Or consider the 1997 laureate, Dario Fo, a kind of postmodern performance artist who arguably was not engaged in literature at all but whose candidacy did have one inestimable advantage: the Catholic Church objected to his work, and the Italian authorities had tried, albeit unsuccessfully, to prosecute him.
No wonder, Feldman writes, that the “world’s most prestigious literary award has become widely seen as a political one–a peace prize in literary disguise.” But as for that peace prize itself, Feldman finds little to criticize. True, Nobel’s explicit intention to recognize strictly international good deeds has given way since 1960 to an emphasis on “efforts for peace within a nation.” But this, in Feldman’s estimation, has been a bold and revitalizing step, resulting in the recognition of such courageous worthies as Martin Luther King, Jr. and the Dalai Lama.
Indeed, looking at the Nobel enterprise as a whole, Feldman believes that it is “healthier” now than at any time in its 100-year history. Whatever the flaws of the prizes, he concludes, “they make us a bit more open to or reverent of greatness.” But is that true?
The problem is not just that several of the awards have become subservient to politics, though Feldman might have said a great deal more about the influence of racial and ethnic concerns on the literature prize in recent decades and the transformation of the peace prize into an endorsement of the liberal cause du jour, even when that cause has been embodied by such dubious heroes as Mikhail Gorbachev and, worse, Yashir Arafat. The more serious charge against the awards for peace and literature alike is that they have seemingly given up on the idea that excellence forges its own criterion, independent of ideology or political fashion. In this respect, the prizes do not “make us a bit more … reverent of greatness”; they make us a lot more cynical. Nothing could be farther from the intentions of Alfred Nobel, which have been traduced to a greater extent than Feldman cares to admit.
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Argentina Adolfo Pérez Esquivel, Peace, 1980 Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize. Bernardo Houssay, Physiology or Medicine, 1947 Bernardo Alberto Houssay (April 10, 1887 - September 21, 1971) was an Argentine physiologist…
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10 Reasons to Learn Spanish
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https://learn-and-teach-spanish.com/hispanic-culture/nobel-prize-laureates-from-spanish-language-countries/
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Argentina
Adolfo Pérez Esquivel, Peace, 1980
Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize.
Bernardo Houssay, Physiology or Medicine, 1947
Bernardo Alberto Houssay (April 10, 1887 – September 21, 1971) was an Argentine physiologist who, in 1947, received one half Nobel Prize for Physiology or Medicine for his discovery of the role played by pituitary hormones in regulating the amount of blood sugar (glucose) in animals. He is the first Argentine and Latin American Nobel laureate in the sciences.
Carlos Saavedra Lamas, Peace, 1936
Carlos Saavedra Lamas (November 1, 1878 – May 5, 1959) was an Argentine academic and politician, and in 1936, the first Latin American Nobel Peace Prize recipient. In addition to the Nobel Peace Prize, he was awarded the Grand Cross of the Legion of Honor of France and analogous honors from ten other countries.
Luis Federico Leloir, Chemistry, 1970
Luis Federico Leloir (September 6, 1906 – December 2, 1987) was an Argentine physician and biochemist who received the 1970 Nobel Prize in Chemistry. Although his laboratories were often plagued by lack of financial support and second-rate equipment, his research into sugar nucleotides, carbohydrate metabolism, and renal hypertension has garnered international attention and fame and has led to significant progress in understanding, diagnosing and treating the congenital disease galactosemia.
César Milstein, Physiology or Medicine, 1984
César Milstein (8 October 1927 – 24 March 2002) was a Argentinian biochemist, (nationalized British)] in the field of antibody research. Milstein shared the Nobel Prize in Physiology or Medicine in 1984 with Niels Kaj Jerne and Georges J. F. Köhler.
Chile
Gabriela Mistral, Literature, 1945
Gabriela Mistral (7 April 1889 – 10 January 1957) was the pseudonym of Lucila Godoy Alcayaga, a Chilean poet-diplomat, educator and feminist. She was the first Latin American (and, so far, the only Latin American woman) to receive the Nobel Prize in Literature, which she did in 1945 “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world.” Some central themes in her poems are nature, betrayal, love, a mother’s love, sorrow and recovery, travel, and Latin American identity as formed from a mixture of Native American and European influences.
Pablo Neruda, Literature, 1971
Pablo Neruda was the pen name and, later, legal name of the Chilean poet-diplomat and politician Neftali Ricardo Reyes Basoalto (July 12, 1904 – September 23, 1973). He derived his pen name from the Czech poet Jan Neruda. In 1971 Pablo Neruda won the Nobel Prize for Literature. Neruda became known as a poet while he was still a teenager. He wrote in a variety of styles, including surrealist poems, historical epics, overtly political manifestos, a prose autobiography, and erotically charged love poems.
Colombia
Gabriel García Márquez, Literature, 1982
Gabriel José de la Concordia García Márquez (6 March 1927 – 17 April 2014) was a Colombian novelist, short-story writer, screenwriter and journalist, known affectionately as Gabo throughout Latin America. Considered one of the most significant authors of the 20th century, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature. He wrote many acclaimed non-fiction works and short stories, but is best known for his novels, such as One Hundred Years of Solitude (1967), The Autumn of the Patriarch (1975) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations.
Costa Rica
Oscar Arias Sánchez, Peace, 1987
Óscar Arias Sánchez (born September 13, 1940 in Heredia, Costa Rica) was President of Costa Rica from 1986 to 1990 and from 2006 to 2010. He received the Nobel Peace Prize in 1987 for his efforts to end the Central American crisis. Arias received the 1987 Nobel Peace Prize with the help of John Biehl, his peer in England, and Rodrigo Madrigal Nieto for his work towards the signing of the Esquipulas II Accords. This was a plan intended to promote democracy and peace on the Central American isthmus during a time of great turmoil. With the support of Arias, the various armed conflicts ended within the decade (Guatemala’s civil war finally ended in 1996).
Guatemala
Miguel Ángel Asturias, Literature, 1967
Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature’s contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union’s Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor.
Rigoberta Menchú, Peace, 1992
Rigoberta Menchú Thum (born 9 January 1959) is an indigenous Guatemalan woman, of the K’iche’ ethnic group. Menchú has dedicated her life publicizing the rights of Guatemala’s indigenous peoples during and after the Guatemalan Civil War (1960-1996), and to promote indigenous rights in the country. She received the Nobel Peace Prize in 1992 and the Prince of Asturias Award in 1998. She is the subject of the testimonial biography I, Rigoberta Menchú (1983) and the author of the autobiographical work, Crossing Borders.
Mexico
Mario J. Molina, Chemistry, 1995
Mario José Molina-Pasquel Henríquez (born March 19, 1943 in Mexico City) is a Mexican chemist and one of the most prominent precursors to the discovery of the Antarctic ozone hole. He was a co-recipient (along with Paul J. Crutzen and F. Sherwood Rowland) of the 1995 Nobel Prize in Chemistry for his role in elucidating the threat to the Earth’s ozone layer of chlorofluorocarbon gases (or CFCs), becoming the first Mexican-born citizen to ever receive a Nobel Prize in Chemistry.
Octavio Paz, Literature, 1990
Octavio Paz Lozano (March 31, 1914 – April 19, 1998) was a Mexican poet-diplomat and writer. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature and the 1990 Nobel Prize in Literature.
“There can be no society without poetry, but society can never be realized as poetry, it is never poetic. Sometimes the two terms seek to break apart. They cannot.”
Paz, Octavio. “Signs in Rotation” (1967), The Bow and the Lyre, trans. Ruth L.C. Simms (Austin: University of Texas Press, 1973), p. 249.
Alfonso García Robles, Peace, 1982
Alfonso García Robles (20 March 1911 – 2 September 1991) was a Mexican diplomat and politician who, in conjunction with Sweden’s Alva Myrdal, received the Nobel Peace Prize in 1982. García Robles received the peace prize as the driving force behind the Treaty of Tlatelolco, setting up a nuclear-free zone in Latin America and the Caribbean. The agreement was signed in 1967 by most states in the region, though some states took some time to ratify the agreement.
Spain
Vicente Aleixandre, Literature, 1977
Vicente Pío Marcelino Cirilo Aleixandre y Merlo (April 26, 1898 – December 14, 1984) was a Spanish poet who was born in Seville. Aleixandre received the Nobel Prize for Literature in 1977 “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”. He was part of the Generation of ’27.
Jacinto Benavente, Literature, 1922
Jacinto Benavente y Martínez (12 August 1866 – 14 July 1954) was one of the foremost Spanish dramatists of the 20th century. He was awarded the Nobel Prize for Literature in 1922 “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”.
Camilo José Cela, Literature, 1989
Camilo José Cela y Trulock, 1st Marquis of Iria Flavia (11 May 1916 – 17 January 2002) was a Spanish novelist, short story writer and essayist associated with the Generation of ’36 movement. He was awarded the 1989 Nobel Prize in Literature “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”.
José Echegaray, Literature, 1904
José Echegaray y Eizaguirre (April 19, 1832 – September 14, 1916) was a Spanish civil engineer, mathematician, statesman, and one of the leading Spanish dramatists of the last quarter of the 19th century. He was awarded the 1904 Nobel Prize for Literature “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”.
Severo Ochoa, Physiology or Medicine, 1959
Severo Ochoa de Albornoz (24 September 1905 – 1 November 1993) was a Spanish – American physician and biochemist, and joint winner of the 1959 Nobel Prize in Physiology or Medicine with Arthur Kornberg, for his work on the synthesis of RNA.
Juan Ramón Jiménez, Literature, 1956
Juan Ramón Jiménez Mantecón (23 December 1881 – 29 May 1958) was a Spanish poet, a prolific writer who received the Nobel Prize in Literature in 1956 “for his lyrical poetry, which in the Spanish language constitutes an example of high spirit and artistical purity”. One of Jiménez’s most important contributions to modern poetry was his advocacy of the French concept of “pure poetry.” A quotation from Jiménez, “If they give you ruled paper, write the other way,” is the epigraph to Ray Bradbury’s novel Fahrenheit 451.
Santiago Ramón y Cajal, Physiology or Medicine, 1906
Santiago Ramón y Cajal (1 May 1852 – 18 October 1934) was a Spanish pathologist, histologist, neuroscientist and Nobel laureate. His original pioneering investigations of the microscopic structure of the brain have led him to be designated by many as the father of modern neuroscience. His medical artistry was legendary, and hundreds of his drawings illustrating the delicate arborizations of brain cells are still in use for educational and training purposes.
Venezuela
Baruj Benacerraf, Physiology or Medicine, 1980
Baruj Benacerraf (October 29, 1920 – August 2, 2011) was a Venezuelan-born American immunologist, who shared the 1980 Nobel Prize in Physiology or Medicine for the “discovery of the major histocompatibility complex genes which encode cell surface protein molecules important for the immune system’s distinction between self and non-self”. His colleagues and shared recipients were Jean Dausset and George Davis Snell.
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Hispanic Culture
World Heritage sites in the Hispanic World
Cultural and historical ties between Australia and the Hispanic World
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https://texlibris.lib.utexas.edu/2020/08/the-benson-acquires-archive-of-nobel-laureate-miguel-angel-asturias/
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The Benson Acquires archive of Nobel Laureate Miguel Ángel Asturias
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2020-08-20T22:00:23-05:00
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https://texlibris.lib.utexas.edu/2020/08/the-benson-acquires-archive-of-nobel-laureate-miguel-angel-asturias/
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By DANIEL ARBINO
Vea abajo para versión en español
The Nettie Lee Benson Latin American Collection is thrilled to announce the acquisition of the Miguel Ángel Asturias Papers. Asturias, the 1967 Nobel Laureate in Literature from Guatemala, was a precursor to the Latin American Boom. A prolific writer of poetry, short stories, children’s literature, plays, and essays, he is perhaps best known as a novelist, with El Señor Presidente (1946) and Hombres de maíz (1949) garnering the most acclaim. Asturias’s portrayal of Guatemala and the different peoples that live there—their beliefs, their interactions, their frustrations, and their hopes—mark the profundity of his texts.
The Benson is the third repository to house materials pertaining to Asturias’s life work, the other two being the Bibliothèque nationale in Paris and El Archivo General de Centroamérica in Guatemala City. What differentiates this particular collection is the role that Asturias’s son, Miguel Ángel Asturias Amado, played in compiling it over the course of fifty years. Indeed, in many ways the collection is just as much the son’s as it is the father’s. It features years of correspondence between the two, who were separated after the elder was forced to leave Argentina in 1962. This was not the writer’s first time in exile: his stay in Argentina was due to the Guatemalan government, led by Carlos Castillo Armas, stripping his citizenship in 1954. The letters provide insight into Asturias as a father, writer, and eventual diplomat when democratically elected Guatemalan President Julio César Méndez Montenegro restored his citizenship and made him Ambassador to France in 1966. Moreover, scholars will find within these letters a number of short stories for children that would eventually be collected in the book El alhajadito (1962).
In addition to correspondence with his son, Asturias maintained a longstanding relationship with his mother via letter during his first stay in Paris in the 1920s. Detailed within are the family’s economic hardships as a result of the country-wide crisis in Guatemala caused by the plummeting international coffee market, and information pertaining to the publication of his first collection of short stories, Leyendas de Guatemala (1930). Other communication from this era demonstrates the role that Asturias played in facilitating the publication of other Guatemalan authors and as a journalist for El imparcial.
Beyond letters, scholars will find a multifaceted collection. Manuscripts of poetic prose, such as “Tras un ideal” (1917), and an early theater piece titled “Madre” (1918) are included with loose-leaf fragments from El señor presidente. News clippings are also prominent. Those written by Asturias reflect his time at El imparcial while those written about him focus on his Nobel Prize. Perhaps an unexpected highlight is the audiovisual component of the collection. The author contributed an array of caricatures, doodles, and portraits, as well as a robust collection of photographs. Furthermore, there are several audio recordings of Asturias reading his work.
Finally, scholars will also be able to access studies dedicated to the work of Asturias and first, rare, and special editions of his books. These editions, meticulously collected and cared for by his son, reflect the author’s continued popularity.
The addition of the Miguel Ángel Asturias Papers will bolster a growing collection of prominent Central American subject matter at the Benson that includes the Ernesto Cardenal Papers, the Pablo Antonio Cuadra Papers, the Victoria Urbano Papers, the Arturo Taracena Flores Collection, and the Digital Archive of the Guatemalan National Police Historical Archive. Once Benson staff can safely return to our offices, we will announce plans to process the collection . In the meantime, questions can be directed to Daniel Arbino, Benson Head of Collection Development, at d.arbino@austin.utexas.edu.
La Colección Benson adquiere el archivo del Premio Nobel Miguel Ángel Asturias
Por DANIEL ARBINO
La Colección Latinoamericana Nettie Lee Benson se complace en anunciar la adquisición de los documentos de Miguel Ángel Asturias, Premio Nobel de 1967. El autor guatemalteco fue un precursor del boom latinoamericano. Escritor prolífico de poesía, cuentos, literatura infantil, obras de teatro y ensayos, es quizás mejor conocido como novelista, y El señor presidente (1946) y Hombres de maíz (1949) son las más aclamadas. La representación de Guatemala y sus variados pueblos, creencias, interacciones, frustraciones y esperanzas, marcan la profundidad de sus textos.
La Benson es el tercer archivo que reune materiales de la vida de Asturias, después de la Bibliothèque nationale en París y El Archivo General de Centroamérica en la ciudad de Guatemala. Lo que distingue a esta colección en particular es el papel que desempeñó el hijo de Asturias, Miguel Ángel Asturias Amado, en su recopilación a lo largo de cincuenta años. De hecho, la colección es, en muchos sentidos, tanto del hijo como del padre. Presenta años de correspondencia entre los dos, que se separaron después de que el padre tuvo que abandonar la Argentina en 1962. Ésta no fue la primera vez que el escritor se había tenido que ir al exilio: su estadía en la Argentina se debió a que el gobierno guatemalteco, liderado por Carlos Castillo Armas, le había despojado de su ciudadanía en 1954. Las cartas dan una idea de Asturias como padre, escritor y eventual diplomático, después de que Julio César Méndez Montenegro, el presidente de Guatemala democráticamente elegido, restauró su ciudadanía y lo nombró embajador en Francia en 1966. Además, los investigadores encontrarán dentro de estas cartas una serie de cuentos para niños que se recopilarían en el libro El alhajadito (1962).
Aparte de la correspondencia con su hijo, Asturias mantuvo una larga relación epistolar con su madre durante su primera estancia en París en la década de los 1920. Ahí se detallan las dificultades económicas de la familia como resultado de la crisis que atraviesa la sociedad guatemalteca, por la caída del precio del café a nivel internacional, e información relativa a la publicación de su primera colección de cuentos, Leyendas de Guatemala (1930). Otra comunicación de esta época demuestra el papel que desempeñó Asturias al facilitar la publicación de otros autores guatemaltecos y como periodista de El imparcial.
Asimismo, los investigadores verán una colección multifacética. Los manuscritos de prosa poética, como “Tras un ideal” (1917) y una obra de teatro titulada “Madre” (1918) se incluyen, tanto como fragmentos de hojas sueltas de El señor presidente. Los recortes de periódicos también son prominentes. Los escritos por Asturias reflejan su tiempo en El imparcial, mientras que los escritos sobre él se centran en su Premio Nobel. Quizás un punto destacado inesperado es el componente audiovisual de la colección. El autor contribuyó con una serie de caricaturas, garabatos y retratos, así como una colección robusta de fotografías. También, hay varias grabaciones de audio de Asturias en las cuales realiza lecturas de sus obras.
Por último, los académicos también podrán acceder a los estudios dedicados al trabajo de Asturias y a las primeras, raras y especiales ediciones de su trabajo. Estas ediciones, meticulosamente recopiladas y cuidadas por su hijo, reflejan la continua popularidad del autor.
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Svante Arrhenius summary
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Svante Arrhenius, (born Feb. 19, 1859, Vik, Swed.—died Oct. 2, 1927, Stockholm), Swedish physical chemist.
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https://www.britannica.com/summary/Svante-Arrhenius
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Svante Arrhenius, (born Feb. 19, 1859, Vik, Swed.—died Oct. 2, 1927, Stockholm), Swedish physical chemist. His theories on dissociation of substances in solution into electrolytes or ions, first published in 1884 as his Ph.D. thesis, were initially met with skepticism, but increasing recognition abroad gradually won over the opposition in Sweden. He also did important work on reaction rates; the equation describing the dependence of reaction rates on temperature is often called the Arrhenius law, and he was the first to recognize the greenhouse effect. After receiving the Royal Society of London’s Davy Medal (1902), he became in 1903 the third recipient of the Nobel Prize for Chemistry. He is regarded as one of the founders of the field of physical chemistry.
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https://www.nobelprize.org/prizes/literature/1967/summary/
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The Nobel Prize in Literature 1967
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1967/summary/
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
To cite this section
MLA style: The Nobel Prize in Literature 1967. NobelPrize.org. Nobel Prize Outreach AB 2024. Sat. 20 Jul 2024. <https://www.nobelprize.org/prizes/literature/1967/summary/>
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Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
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https://www.ccny.cuny.edu/news%3F%253F%253A%253F%253F%253F%253F%253F%253F%253F%25E2%2580%259C%253F%253F%253F%253F%253F%25E2%2580%259D%3D%26page%3D94
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2015-12-05T11:47:32+00:00
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The City College of New York
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Please double-check the web address, use our site search, or the links in the navigation of our site to find what you are looking for.
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FactBench
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0
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https://www.newworldencyclopedia.org/entry/Miguel_Angel_Asturias
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en
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Miguel Angel Asturias
|
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https://www.newworldencyclopedia.org/entry/Miguel_Angel_Asturias
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Miguel Ángel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel-Prize–winning Guatemalan poet, novelist, and diplomat. Asturias helped establish Latin American literature's contribution to mainstream Western culture, drawing attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and grew up in Guatemala, but spent significant time abroad, first in Paris in the 1920s, where he studied anthropology and Indian mythology. Many scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement; he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor. Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
Biography
Early life and education
Miguel Ángel Asturias was born in Guatemala City in 1899, a year after the appointment of President Manuel Estrada Cabrera.[1] His father, Ernesto Asturias, was a lawyer and a notary.[2] His mother, María Rosales de Asturias, was a schoolteacher.[3] Ernesto and Maria had two children: Miguel Ángel and Marco Antonio.[2] Asturias' father had political differences with Cabrera retired from his practice. The family was forced to move in 1905 to the town of Salamá, the provincial capital of Baja Verapaz, where Miguel Angel Asturias lived on the farm of his paternal grandparents.[4] This is also a land full of legends and myths that Asturias would later use in his literature.[5] In 1908, when Miguel Ángel was nine, his family returned to the outskirts of the city to live in the Parroquia Vieja suburb where Asturias spent his adolescence and his family established a supply store.[5]
Asturias was guided by Dolores Reyes (AKA "la Lola"), his "nana," to have his first encounters with formal education. He first attended Colegio del Padre Pedro and then, Colegio del Padre Solís.[5] Asturias began writing as a student and wrote the first draft of a story that would later become his novel El Señor Presidente.[6]
In 1922, Asturias and other students founded the Popular University, a community project whereby "the middle class was encouraged to contribute to the general welfare by teaching free courses to the underprivileged."[1] Asturias spent a year studying medicine before switching to the faculty of law at the Universidad de San Carlos de Guatemala in Guatemala City[7], obtaining his law degree in 1923. He was awarded the Premio Falla as top student in his faculty. It was at this university that he founded the Asociación de Estudiantes Universitarios and the Asociación de estudiantes El Derecho. Both his Associations have been recognized as positively associated with Guatemalan patriotism.[8] Asturias worked as a representative of the Asociación General de Estudiantes Universitarios, traveling to El Salvador and Honduras. In 1920, Asturias participated in the uprising against President Manuel Estrada Cabrera.
Asturias' university thesis, "The Social Problem of the Indian," was published in 1923.[9] In the same year he moved to Europe, after receiving his law degree. He had originally planned to live in England and study political economy but changed his mind.[7] He transferred quickly to Paris, where he studied ethnology at the Sorbonne (University of Paris} and became a militant surrealist under the influence of the French poet and literary theorist André Breton.[10] While there, he was influenced by the gathering of writers and artists in Montparnasse (an area of Paris) and began writing poetry and fiction. During this time, Asturias developed a deep concern for Mayan culture and in 1925 he worked to translate the Mayan sacred text, the Popol Vuh, into Spanish. He also founded a magazine while in Paris called Tiempos Nuevos or "New Times".[11] Asturias stayed in Paris for a total of ten years.
Political career
Asturias returned to Guatemala in 1933, working as a journalist before serving in his country's diplomatic corps. He founded and edited a radio magazine called El diario del aire.[10] He also wrote several volumes of poetry around this time, the first of which was his Sonetos (Sonnets), published in 1936.[10]
In 1942, he was elected to the Guatemalan Congress.[12] In 1946, Asturias embarked upon a diplomatic career, continuing to write while serving in several countries in Central and South America. Asturias held a diplomatic post in Buenos Aires, Argentina in 1947 and in Paris, France in 1952.[13]
When Asturias returned to his native country in 1933, he was faced with the dictator Jorge Ubico and a regime that would not tolerate his political ideals. He stayed in Guatemala until 1944. During his time in Guatemala, he published "only poetry, which was characterized by elegant cynicism."[7] Eventually in 1933[14] he broke out of his decade of poetry when a more liberal government ruled the country, writing the novel El Señor Presidente, which explored the world around an unnamed dictator in an unspecified Latin American country. The novel could not be published during the rule of Ubico and so El Señor Presidente did not appear until 1946.[15]
Asturias served as an ambassador to Mexico, Argentina, and El Salvador, between 1946 and 1954. His novel "Men of Maize" was published during his time as ambassador. This novel was organized into multiple parts, each dealing exploring the contrast between traditional Indian culture and modernity.[16]
Exile and rehabilitation
Miguel Àngel Asturias devoted much of his political energy towards supporting the government of Jacobo Arbenz (the successor to Guatemalan ruler Juan José Arévalo Bermejo).[17] Asturias was enlisted for his work as an ambassador to help suppress the threat of rebels from El Salvador. While his efforts were backed by the United States and the El Salvadorean government, the rebels succeeded in invading Guatemala and overthrowing Jacobo Arbenz' rule in 1954. When the government of Jacobo Arbenz fell, Asturias was expelled from the country by Carlos Castillo Armas because of his support for Arbenz. He was stripped of his Guatemalan citizenship and went to live in Buenos Aires, where he spent the next eight years of his life. Even though he remained in exile Asturias did not stop his writing. When a change of government in Argentina made it so that he once more had to seek a new home, Asturias moved to Europe.[18] While living in exile in Genoa his reputation grew as an author with the release of his novel, Mulata de Tal (1963).[19]
In 1966, democratically elected President Julio César Méndez Montenegro achieved power and Asturias was given back his Guatemalan citizenship. Montenegro appointed Asturias as Guatemalan ambassador in Paris, where he served until 1970 and took up a permanent residence.[20]
Later in Asturias' life he helped found the Popular University of Guatemala.[9] Asturias spent his final years in Madrid, where he died in 1974. He is buried in the Père Lachaise Cemetery in Paris.
Family
Miguel Ángel Asturias married his first wife, Clemencia Amado, in 1939. They had two sons, Miguel and Rodrigo Ángel, before divorcing in 1947. Asturias then met and married his second wife, Blanca Mora y Araujo, in 1950.[21] Mora y Araujo was Argentinian, and so when Asturias was deported from Guatemala in 1954, he went to live in the Argentinian capital of Buenos Aires. He lived in his wife's homeland for eight years. They remained married until Asturias' death in 1974.
Asturias' son from his first marriage, Rodrigo Asturias, under the nom de guerre Gaspar Ilom (the name of an indigenous rebel in his father's own novel, Men of Maize), was President of the Unidad Revolucionaria Nacional Guatemalteca. The Unidad Revolucionaria Nacional Guatemalteca was a rebel group active in the 1980s, during the Guatemalan Civil War, and after the peace accords in 1996.[22]
Major works
Leyendas de Guatemala
Asturias' first major work, Leyendas de Guatemala (Legends of Guatemala; 1930), describes Mayan civilization before the Spanish conquest. The novel brought him critical praise in France as well as in Guatemala. The noted French poet and essayist Paul Valéry wrote of the book (in a letter published as part of the Losada edition), that "I found it brought about a tropical dream, which I experienced with singular delight."[23] The novel used elements of magical realism to tell multiple tales. The novel employs both conventional writing as well as lyrical prose to tell a story about birds and other animals conversing with other archetypal human beings.[24]
For Gerald Martin, it is "the first major anthropological contribution to Spanish American literature."[25] Jean Franco describes the book as "lyrical recreations of Guatemalan folk-lore many of which drew their inspiration from pre-Columbian and colonial sources."[26]
El Señor Presidente
One of Asturias' most critically acclaimed novels, El Señor Presidente was completed in 1933 but only published in 1946. As one of his earliest works, El Señor Presidente showcases Asturias's talent and influence as a novelist. Zimmerman and Rojas described his work as an "impassioned denunciation of the Guatemalan dictator Manuel Estrada Cabrera."[27] The novel was written during Asturias's exile in Paris.[28] While living completing the novel, Asturias associated with members of the Surrealist movement as well as fellow future Latin American writers such as Arturo Uslar Pietri and the Cuban Alejo Carpentier.[29] El Señor Presidente is one of many novels to explore life under a Latin American dictator; it has been herlded by some as the first real dictator novel.[30]
The actual events are vague and the plot is partially based on real events while the time and locale are fictional. Asturias's novel examines how evil spreads downward from a powerful political leader and into the streets and a country's citizens. Justice is mocked in the novel and escape from the dictator's tyranny is impossible. Each character in the novel is deeply affected by the dictatorship and must struggle to survive in a terrifying reality.[28] The novel travels with several characters, some close to the President and some seeking escape from his regime. The dictator's trusted adviser, whom the reader knows as "Angel Face," falls in love with a General, General Canales daughter Camila. The General is hunted for execution while his daughter is held under house arrest.[31] Angel Face is torn between his love for her and his duty to the President. While the Dictator is never named he has striking similarities to Manuel Estrada Cabrera. El Señor Presidente uses surrealistic techniques and reflects Asturias' notion that Indian's non-rational awareness of reality is an expression of subconscious forces.[32]
Playwright Hugo Carrillo adapted El Señor Presidente into a play in 1974.[33]
Hombres de maíz
Hombres de maíz (Men of Maize, 1949) is usually judged to be Asturias' masterpiece. The novel is written in six parts, each exploring the contrast of traditional Indian customs and a progressive, modernizing society. Asturias' book explores the magical world of indigenous communities, a subject which Asturias was both passionate and knowledgeable. It portrays a rebellion by an isolated tribe of Indians which live remotely in dangerous mountains and at risk of annihilation by the army.[34] The plot revolves around an Indian community (the "corn people") whose land is threatened to be cultivated for profit using methods that will destroy their land. The second part of the novel presents a different perspective by introducing new characters. The later generation comes into contact with Indian figures of the past and they struggle to maintain their ancestral traditions.[35] The story is made relevant by Asturias through his analysis of how European imperialism is used to dominate, control, and transform other civilizations within Latin America and around the world.[36]
Asturias used his extensive knowledge of pre-Columbian literature to tell his story in the form of a myth. Because his novel was presented in such a unique way it was ignored by critics and the public for a long time after its release in 1949.[36]
The Banana Republic Trilogy
Asturias also wrote an epic trilogy on the exploitation of the native Indians on banana plantations: this trilogy, comprised of the novels Viento fuerte (The Cyclone 1950), El Papa Verde (The Green Pope 1954), and Los ojos de los enterrados (The Eyes of the Interred 1960), is a fictional story about foreign control over the Central American banana industry.[7] The volumes were first only published in small quantities in his native country of Guatemala.[15] Asturias finally finished the last book in the Trilogy nearly 20 years after the first two volumes. His critique of the fruit industry and how the Guatemalan natives were exploited eventual earned him the Soviet Union's highest prize, the Lenin Peace Prize. Asturias's recognition marked him as one of the few authors that was recognized in both the West and in the Communist bloc during the period of the Cold War.[37]
Mulata de tal
Asturias published his novel Mulata de tal while he and his wife were living in Genoa in 1963. His novel received many positive reviews; Ideologies and Literature described it as "a carnival incarnated in the novel. It represents a collision between Mayan Mardi Gras and Hispanic baroque."[38] The novel emerged as a major novel during the 1960s.[24] The plot revolves around the battle between Catalina and Yumí to control Mulata (the moon spirit). Yumí and Catalina become experts in sorcery and are criticized by the Church for their practices. The novel uses Mayan mythology and Catholic tradition to form a unique allegory of belief.
Gerald Martin in the Hispanic Review commented that it is "sufficiently obvious that the whole art of this novel rests upon its language. In general, Asturias matches the visual freedom of the cartoon by using every resource the Spanish language offers him. His use of color is striking and immeasurably more liberal than in earlier novels."[39] Asturias built the novel by this unique use of color, liberal theory, and his distinctive use of the Spanish language.[40] His novel also received the Silla Monsegur Prize for the best Spanish-American novel published in France.[9]
Mayan influences
The influence of rich Mayan culture on Asturias' literary work and political life is undeniable.[41] He believed in the sacredness of the Mayan traditions and worked to bring life back into its culture by integrating the Indian imagery and tradition into his novels.[42] For example his novel "Men of Maize" comes from the Mayan belief that humans are created from stalks of corn. Asturias' interest in Mayan culture is notable because many Mayan traditions and cultures were stifled by the influence of the Catholic church.[43] The Spanish in Central America viciously banned certain rituals, destroyed Aztec and Mayan texts and fought to bring the Christian religion to the Indian communities in Guatemala. Asturias' work as a scholar integrated the sacred suppressed tradition back into Latin American Literature.
Asturias studied at the Sorbonne (the University of Paris at that time) with Georges Raynaud, an expert in the culture of the Mayan Quichés, and he eventually finished a translation of the Popol Vuh, the sacred book of the Mayas in 1926.[44] In 1930, fascinated by the legends and myths of the Indians of Guatemala, he wrote Legends of Guatemala".[45]
Jean Franco categorizes Asturias as an "Indianist" author, along with Rosario Castellanos and José María Arguedas. She argues that all three of these writers are led to "break with realism precisely because of the limitations of the genre when it came to representing the Indian."[46] So, for instance, Franco says of Asturias' Hombres de maíz (Men of Maize) that "the technique here is more akin to poetry than to traditional prose, but we feel that this is a more authentic way of representing the Indian mind."[47] She points out also that the novel's temporality "is a mythic time in which many thousands of years may be compressed and seen as a single moment".[46] Even the language of the book is affected: it is "a Spanish so structured as to be analogous to Indian languages."[46]
Legacy
After his death in 1974, Guatemala established an award in his name, the Miguel Àngel Asturias Order. The country's most distinguished literary prize, the Miguel Ángel Asturias National Prize in Literature, is also named in his honor. In addition, Guatemala's National theater is named after him.
Asturias is remembered as a man who believed strongly in maintaining indigenous culture in Guatemala, and who encouraged those who were persecuted. His literature was critically acclaimed, but not always appreciated. But, for Gerald Martin, Asturias is one of what he terms "the ABC writers—Asturias, Borges, Carpentier" who, he argues, "really initiated Latin American modernism."[48]
Critics compare his fiction to that of Franz Kafka, James Joyce, and William Faulkner.[49] His work has been translated into numerous languages such as English, French, German, Swedish, Italian, Portuguese, Russian and many more.
Awards
Asturias received many honors and awards over the course of his career, most notably the 1967 Nobel Prize for literature. The award of the Nobel caused some controversy, as critic Robert G. Mead notes: outside of Latin America, Asturias was still relatively unknown; within Latin America, some thought that there were more deserving candidates.[50] More controversial still was the award of the Soviet Union's 1966 Lenin Peace Prize, for exposing "American intervention against the Guatemalan people."[51] This honor came after his completion of the Banana Trilogy.
Other prizes for Asturias' work include: Premio Galvez, 1923; Chavez Prize, 1923; Prix Sylla Monsegur, for Leyendas de Guatemala, 1931; and Prix du Meilleur Roman Etranger, for El señor presidente, 1952.[18]
Selected works
What follows is a selected bibliography. A fuller list can be found at the Nobel Prize website.[52]
Notes
References
ISBN links support NWE through referral fees
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https://www.onthisday.com/people/miguel-asturias
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en
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Miguel Ángel Asturias (Novelist and Journalist)
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Famous for his novels "El Señor President" which described life under a ruthless dictator and "Hombres de Maíz" which championed Mayan...
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On This Day
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https://www.onthisday.com/people/miguel-asturias
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Profession: Novelist and Journalist
Biography: Famous for his novels "El Señor President" which described life under a ruthless dictator and "Hombres de Maíz" which championed Mayan culture and customs.
In 1967 he became only the second Latin American to win the Nobel Prize in Literature.
Born: October 19, 1899
Birthplace: Guatemala City, Guatemala
Generation: Lost Generation
Star Sign: Libra
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https://books.google.com/books/about/The_Green_Pope.html%3Fid%3DwZMSAAAAYAAJ
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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FactBench
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http://literalmagazine.blogspot.com/2010/10/dr-raquel-chang-rodriguez-talks-to.html
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Rodríguez talks to Literal about Nobel Laureate Mario Vargas Llosa
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https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4xiTL3FFeRtIv10v3tLHGoWPONUXYWFWZR0KDhD63_0T6r1LBw2r6BGBSGlo6fFoP8eTqq0Rehhjl6Q9yddbCX-YrrNSw3h5c6qsfOpBL8PbB6ZMYXXFa6rCpmwI1MIydZokFOzn7pKA/w1200-h630-p-k-no-nu/vargas+llosa+%26+chang
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[
""
] | null |
[
"Ver todo mi perfil",
"rose mary salum"
] | null |
After we learned about Vargas Llosa´s Nobel Award, we decided to talk to Dr. Raquel Chang-Rodríguez who is an expert on Vargas Llosa´s oeuvr...
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http://literalmagazine.blogspot.com/favicon.ico
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http://literalmagazine.blogspot.com/2010/10/dr-raquel-chang-rodriguez-talks-to.html
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correct_award_00058
|
FactBench
|
1
| 33
|
https://www.ebay.com/itm/285747733205
|
en
|
MEN OF MAIZE Miguel Angel Asturias NOBEL PRIZE 1st Edition First Printing NOVEL
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[
""
] | null |
[] | null |
ByMiguel Angel Asturias. Nobel Prize Winner.
|
en
|
eBay
|
https://www.ebay.com/itm/285747733205
|
$3.00 shipping for each additional eligible item you buy from rarevisionbooks.US $30.43GermanyeBay International ShippingUS $0.00Estimated between Thu, Aug 1 and Fri, Aug 9 to 60323
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|||||
correct_award_00058
|
FactBench
|
2
| 66
|
https://www.hachette.com.au/miguel-asturias/
|
en
|
Miguel Asturias Books
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https://www.hachette.com.au/miguel-asturias/
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Miguel Angel Asturias was born in 1899 in Guatemala. After studying there he lived in Paris between 1923 and 1933, where he wrote El Senor Presidente (The President). It was unpublished for thirteen years until the fall of Guatemalan dictator Jorge Ubico. From 1944 until 1954, Asturias held various government positions until the fall of President Jacobo Arbenz Guzman, when he went into exile in Argentina. In 1966, Asturias was awarded the Lenin Peace Prize, and in 1967 he won the Nobel Prize for Literature. He died in 1974 in Madrid, Spain.
|
|||||||
correct_award_00058
|
FactBench
|
0
| 3
|
https://www.nobelprize.org/prizes/literature/1967/summary/
|
en
|
The Nobel Prize in Literature 1967
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1967/summary/
|
The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
To cite this section
MLA style: The Nobel Prize in Literature 1967. NobelPrize.org. Nobel Prize Outreach AB 2024. Sat. 20 Jul 2024. <https://www.nobelprize.org/prizes/literature/1967/summary/>
Back to top Back To Top Takes users back to the top of the page
Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
|
|||||
correct_award_00058
|
FactBench
|
2
| 89
|
https://hispanicreader.com/tag/miguel-angel-asturias/
|
en
|
Miguel Angel Asturias
|
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Posts about Miguel Angel Asturias written by jessdeleon
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en
|
https://s1.wp.com/i/favicon.ico
|
The Hispanic Reader
|
https://hispanicreader.com/tag/miguel-angel-asturias/
|
On Sept. 15, 1821, five Central American countries declared their independence from Spain. (It also marks the beginning of Hispanic Heritage Month, with several Latin American countries celebrating their Independence Days in the next 30 days.) Here’s a look at the writers and books from these nations:
• Costa Rica: Poet and novelistJoaquín Gutiérrez wrote several books, including Cronicas De Otro Mundo; the children’s book Cocori, which has been translated into several languages and produced as a play; and Chinto Pinto, a book of Costan Rican proverbs and songs for children.
• El Salvador: Poet Roque Dalton (1935-1975) now is considered a revered figure in his native country for his works, collected in the book Small Hours of the Night. But his left wing politics sent him in exile from his country and led to his death. Héctor Tobar of The Los Angeles Times had a fascinating story about his execution.
• Guatemala: Miguel Angel Asturias (1899-1974), right, won the Nobel Prize in Literature for his novels — The President (El Senor Presidente) and Men of Maize: The Modernist Epic of the Guatemalan Indians (Hombres de Maize) — that depicted life in his country. Contemporary novelists Francisco Goldman, Héctor Tobar and Sabrina Vourvoulias have Guatemalan roots.
• Honduras: Novelist Froilán Turcios (1875-1943) is best known for his collection of short stories Cuentos del Amor y la Muerte (Stories of Love and Death). Roberto Sosa (1930-2011) won awards for his poetry. The non-fiction book Enrique’s Journey, based on Pulitzer Prize-winning series by Sonia Nazario, follows a young Honduran boy as he travels to the United States to find his mother.
• Nicaragua: Poet Rubén Darío (1867-1916), right, is considered one of the finest wordsmiths in the Spanish language, with poems that experimented with the language. They can be found in the book Selected Writings. Novelist Silvio Sirias, who was raised in California, drew upon his cultural heritage for such books as Meet Me Under the Ceiba and Bernardo and the Virgin.
Sources: Answers.com, Wikipedia, Encyclopedia Britannica, Poets.org, Los Angeles Times, Vidagranada.com
(Note: This post was updated to include the Junot Díaz award from the MacArthur Foundation.)
It’s October, and that means news books, book festival season and Dias de los Muertos. Find out more below:
Already out: Sesame Street actress Sonia Manzano’s young adult novel The Revolution of Everlyn Serrano depicts a Puerto Rican teen growing up in Spanish Harlem in the turbulent 1960s. Manzano talked to the TBD website about the book.
• Oct. 1: Guadalupe García McCall, author of the Pura Belpre winning book Under the Mesquite, releases Summer of the Mariposas, a retelling of Homer’s The Odyssey through the eyes of five sisters.
• Oct. 2: Sandra Cisneros writes about her missing cat in the illustrated book, Have You Seen Marie?
• Oct. 9: In the young adult novel A Thunderous Whisper by Christina Díaz Gonzalez, a 12-year-old girl is caught up in spying during the Spanish Civil War.
• Oct. 16: Benjamin Alire Saenz releases a collection of short stories, Everything Begins and Ends at the Kentucky Club. In The Miracle Cures of Dr. Aira by Cesar Aira, a doctor discovers he has superhuman powers.
• Junot Díaz alert:
Junot Díaz was awarded the prestigious MacArthur “Genius Award” on Oct. 1. The honor is given by the MacArthur Foundation to outstanding individuals in the arts, humanities and sciences.
Need a Junot Díaz fix? Lots of people do since his collection of short stories, This Is How You Lose Her, was released last month. Nearly a thousand fans crammed into a New York City Barnes and Noble, causing a near riot, according to the ColorLines website. He chatted with The New York Times Magazine’s recent “Inspiration” issue about what has influenced his writing, and a nice slideshow is included. He talked about the main character’s game to NPR; his Dominican background to NBC Latino; genre fiction to Capital New York; and the perceived sexism in his book to The Atlantic. He also went bar-hopping with Grantland. But wait, here’s more articles from Latina magazine, the NPR radio show Latino USA, Huffington Post, the Good Reads website and CNN. Here’s some podcasts from The New York Timesand the Brooklyn Vol. 1 website, where Díaz discusses his passion for comic books. He talked about his love for the Hernandez brothers (of Love and Rockets fame) to the NPR radio program Latino USA. Still can’t get enough of Díaz? Check out his Facebook feed or the new fan website, Junot Díaz Daily.
Book Festivals:
• Oct. 1-6: The San Diego City College Int’l Book Fair will include Reyna Grande (left), Gustavo Arellano, Rudy Acuña, Matt de la Peña and Herbert Sigüenza.
• Oct. 13 – The Los Angeles Latino Book & Family Festival will feature Victor Villaseñor and Luis J. Rodriguez.
• Oct. 27: The Boston Book Festival will feature Junot Díaz and Justin Torres, right.
Oct. 27-28: The Texas Book Festival in Austin will feature Gustavo Arellano, Nora de Hoyos Comstock, Junot Díaz, Reyna Grande, Diana López, Domingo Martinez, Guadalupe Garcia McCall, Benjamin Alire Sáenz, René Saldaña Jr., Esmeralda Santiago, Ilan Stavans, Duncan Tonatiuh, Juan Pablo Villalobos, Ray Villareal and Gwendolyn Zepeda.
Literary magazines:
• Aztlan Libre Press has released the book Nahualliandoing Dos: An Anthology of Poetry, which was influenced by Cecilio Garcia-Camarillo, Caracol and Nahualliandoing.
• Here’s an interesting article from Ploughshares literary magazine from Jennifer De Leon (no relation) about whether to italicize foreign phrases in literary works, with a mention of Junot Díaz (him again!).
Events:
• Las Comadres Para Las Americas will host a writer’s workshop Oct. 6 in New York City. Speakers include Sonia Manzano, Lyn DiIorio, and Caridad Pineiro.
• The Festival de la Palabra, which includes discussions and readings from from Rosa Beltrán, Ángel Antonio Ruiz Laboy and Charlie Vásquez, takes place Oct. 9-11 in New York City.
Other news:
• The Southern California public radio station KPCC covered a reading of Ban This! The BSP Anthology of Chicano Literature, written in response to the state of Arizona’s ban on ethnic studies.
• Poet Lupe Mendez was named one of the Houston Press’s top 100 creative people.
• Héctor Tobar’s 2011 novel The Barbarian Nurseries may be adapted into a movie, according to ComingSoon.net.
• The film version of Rudolfo Anaya’s Bless Me Ultima premiered in El Paso, according to the El Paso Times.
• A new film based on Juan Gonzalez’s Harvest of Empire: A History of Latinos in America is being released.
• Justin Torres, author of 2011’s We the Animals, was named to the National Book Founationa’s 5 under 35 list of emerging authors.
Also this month:
• Celebrating birthdays this month: Nobel Prize winner Miguel Angel Asturias, right, on Oct. 19.
• The Nobel Prizes will be announced this month, and Book Riot has its predictions. (It’s not likely a Latino or an American will win this year.) Here’s a look at Latinos who’ve won the award.
• Looking for some books for Dias de los Muertos? Here’s The Hispanic Reader’s round-up from last year.
|
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correct_award_00058
|
FactBench
|
3
| 8
|
https://en.wikipedia.org/wiki/List_of_Nobel_laureates_in_Literature
|
en
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List of Nobel laureates in Literature
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2007-06-06T21:34:44+00:00
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https://en.wikipedia.org/wiki/List_of_Nobel_laureates_in_Literature
|
Year Picture Laureate Country Language(s) Age
awarded Citation Genre(s) 1901 Sully Prudhomme
(1839–1907) France French 62 "in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect"[8] poetry, essay 1902 Theodor Mommsen
(1817–1903) Germany German 85 "the greatest living master of the art of historical writing, with special reference to his monumental work A History of Rome"[9] history, law 1903 Bjørnstjerne Bjørnson
(1832–1910) Norway Norwegian 71 "as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit"[10] poetry, novel, drama 1904 Frédéric Mistral
(1830–1914) France Provençal 74 "in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist"[11] poetry, philology José Echegaray
(1832–1916) Spain Spanish 72 "in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama"[11] drama 1905 Henryk Sienkiewicz
(1846–1916) Poland Polish 59 "because of his outstanding merits as an epic writer"[12] novel 1906 Giosuè Carducci
(1835–1907) Italy Italian 71 "not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces"[13] poetry 1907 Rudyard Kipling
(1865–1936) United Kingdom English 41 "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration that characterize the creations of this world-famous author"[14] novel, short story, poetry 1908 Rudolf Christoph Eucken
(1846–1926) Germany German 62 "in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life"[15] philosophy 1909 Selma Lagerlöf
(1858–1940) Sweden Swedish 51 "in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings"[16] novel, short story 1910 Paul von Heyse
(1830–1914) Germany German 80 "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories"[17] poetry, drama, novel, short story 1911 Maurice Maeterlinck
(1862–1949) Belgium French 49 "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations"[18] drama, poetry, essay 1912 Gerhart Hauptmann
(1862–1946) Germany German 50 "primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art"[19] drama, novel 1913 Rabindranath Tagore
(1861–1941) British India
(British Empire) Bengali and English 52 "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West"[20] poetry, novel, drama, short story, essay, translation 1914 Not awarded 1915 Romain Rolland
(1866–1944) France French 49 "as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings"[21] novel 1916 Verner von Heidenstam
(1859–1940) Sweden Swedish 56 "in recognition of his significance as the leading representative of a new era in our literature"[22] poetry, novel 1917 Karl Adolph Gjellerup
(1857–1919) Denmark Danish and German 60 "for his varied and rich poetry, which is inspired by lofty ideals"[23] poetry Henrik Pontoppidan
(1857–1943) Denmark Danish 60 "for his authentic descriptions of present-day life in Denmark"[23] novel 1918 Not awarded 1919 Carl Spitteler
(1845–1924) Switzerland German 74 "in special appreciation of his epic, Olympian Spring"[24] poetry 1920 Knut Hamsun
(1859–1952) Norway Norwegian 61 "for his monumental work, Growth of the Soil"[25] novel 1921 Anatole France
(1844–1924) France French 77 "in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament"[26] novel, poetry 1922 Jacinto Benavente
(1866–1954) Spain Spanish 56 "for the happy manner in which he has continued the illustrious traditions of the Spanish drama"[27] drama 1923 William Butler Yeats
(1865–1939) Ireland English 58 "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation"[28] poetry 1924 Władysław Reymont
(1867–1925) Poland Polish 57 "for his great national epic, The Peasants"[29] novel 1925 George Bernard Shaw
(1856–1950) United Kingdom
Ireland[30]
English 69 "for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty"[31] drama, essay 1926 Grazia Deledda
(1871–1936) Italy Italian 55 "for her idealistically inspired writings, which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general"[32] poetry, novel 1927 Henri Bergson
(1859–1941) France French 68 "in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented"[33] philosophy 1928 Sigrid Undset
(1882–1949) Norway
Denmark Norwegian 46 "principally for her powerful descriptions of Northern life during the Middle Ages"[34] novel 1929 Thomas Mann
(1875–1955) Germany German 54 "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature"[35] novel, short story, essay 1930 Sinclair Lewis
(1885–1951) United States English 45 "for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters"[36] novel, short story, drama 1931 Erik Axel Karlfeldt
(1864–1931) Sweden Swedish 67 "The poetry of Erik Axel Karlfeldt"[37] poetry 1932 John Galsworthy
(1867–1933) United Kingdom English 65 "for his distinguished art of narration, which takes its highest form in The Forsyte Saga"[38] novel 1933 Ivan Bunin
(1870–1953) Stateless
(born in Russian Empire) Russian 63 "for the strict artistry with which he has carried on the classical Russian traditions in prose writing"[39] short story, poetry, novel 1934 Luigi Pirandello
(1867–1936) Italy Italian 67 "for his bold and ingenious revival of dramatic and scenic art"[40] drama, novel, short story 1935 Not awarded 1936 Eugene O'Neill
(1888–1953) United States English 48 "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy"[41] drama 1937 Roger Martin du Gard
(1881–1958) France French 56 "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel cycle Les Thibault"[42] novel 1938 Pearl Buck (1892–1973) United States English 46 "for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces"[43] novel, biography 1939 Frans Eemil Sillanpää
(1888–1964) Finland Finnish 51 "for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature"[44] novel 1940 Not awarded 1941 Not awarded 1942 Not awarded 1943 Not awarded 1944 Johannes Vilhelm Jensen
(1873–1950) Denmark Danish 71 "for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style"[45] novel, short story 1945 Gabriela Mistral
(1889–1957) Chile Spanish 56 "for her lyric poetry, which inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world"[46] poetry 1946 Hermann Hesse
(1877–1962) Germany
Switzerland German 69 "for his inspired writings, which while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style"[47] novel, poetry 1947 André Gide
(1869–1951) France French 78 "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight"[48] novel, essay, drama, memoir 1948 Thomas Stearns Eliot
(1888–1965) United Kingdom
(born in the United States) English 60 "for his outstanding, pioneer contribution to present-day poetry"[49] poetry, essay, drama 1949 William Faulkner
(1897–1962) United States English 52 "for his powerful and artistically unique contribution to the modern American novel"[50] novel, short story 1950 Bertrand Russell
(1872–1970) United Kingdom English 78 "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought"[51] philosophy, essay 1951 Pär Lagerkvist
(1891–1974) Sweden Swedish 60 "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind"[52] poetry, novel, short story, drama 1952 François Mauriac
(1885–1970) France French 67 "for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life"[53] novel, short story 1953 Winston Churchill
(1874–1965) United Kingdom English 79 "for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values"[54] history, essay, memoir 1954 Ernest Hemingway
(1899–1961) United States English 55 "for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style"[55] novel, short story, screenplay 1955 Halldór Laxness
(1902–1998) Iceland Icelandic 53 "for his vivid epic power, which has renewed the great narrative art of Iceland"[56] novel, short story, drama, poetry 1956 Juan Ramón Jiménez
(1881–1958) Spain Spanish 75 "for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity"[57] poetry, novel 1957 Albert Camus
(1913–1960) France
(born in Algeria) French 44 "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times"[58] novel, short story, drama, philosophy, essay 1958 Boris Pasternak
(1890–1960) Soviet Union Russian 70 "for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition"[59] novel, poetry, translation 1959 Salvatore Quasimodo
(1901–1968) Italy Italian 58 "for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times"[60] poetry 1960 Saint-John Perse
(1887–1975) France
(born in Guadeloupe) French 73 "for the soaring flight and the evocative imagery of his poetry, which in a visionary fashion reflects the conditions of our time"[61] poetry 1961 Ivo Andrić
(1892–1975) Yugoslavia
(born in Austria-Hungary) Serbo-Croatian 69 "for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country"[62] novel, short story 1962 John Steinbeck
(1902–1968) United States English 60 "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception"[63] novel, short story, screenplay 1963 Giorgos Seferis
(1900–1971) Greece
(born in the Ottoman Empire) Greek 63 "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture"[64] poetry, essay, memoir 1964 Jean-Paul Sartre
(1905–1980) France French 59 "for his work, which rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age"[65] philosophy, novel, drama, essay, short story, screenplay 1965 Mikhail Sholokhov
(1905–1984) Soviet Union Russian 60 "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people"[66] novel 1966 Shmuel Yosef Agnon
(1888–1970) Israel
(born in Austria-Hungary) Hebrew 79 "for his profoundly characteristic narrative art with motifs from the life of the Jewish people"[67] novel, short story Nelly Sachs
(1891–1970) Germany
Sweden
German 75 "for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength"[67] poetry, drama 1967 Miguel Ángel Asturias
(1899–1974) Guatemala Spanish 68 "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"[68] novel, poetry 1968 Yasunari Kawabata
(1899–1972) Japan Japanese 69 "for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind"[69] novel, short story 1969 Samuel Beckett
(1906–1989) Ireland French and English 63 "for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation"[70] novel, drama, poetry 1970 Aleksandr Solzhenitsyn
(1918–2008) Soviet Union Russian 52 "for the ethical force with which he has pursued the indispensable traditions of Russian literature"[71] novel, essay, short story 1971 Pablo Neruda
(1904–1973) Chile Spanish 67 "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams"[72] poetry 1972 Heinrich Böll
(1917–1985) West Germany German 55 "for his writing, which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature"[73] novel, short story 1973 Patrick White
(1912–1990) Australia
(born in the United Kingdom) English 61 "for an epic and psychological narrative art, which has introduced a new continent into literature"[74] novel, short story, drama 1974 Eyvind Johnson
(1900–1976) Sweden Swedish 74 "for a narrative art, farseeing in lands and ages, in the service of freedom"[75] novel Harry Martinson
(1904–1978) Sweden Swedish 70 "for writings that catch the dewdrop and reflect the cosmos"[75] poetry, novel, drama 1975 Eugenio Montale
(1896–1981) Italy Italian 79 "for his distinctive poetry, which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions"[76] poetry 1976 Saul Bellow
(1915–2005) United States
(born in Canada) English 61 "for the human understanding and subtle analysis of contemporary culture that are combined in his work"[77] novel, short story 1977 Vicente Aleixandre
(1898–1984) Spain Spanish 79 "for a creative poetic writing, which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars"[78] poetry 1978 Isaac Bashevis Singer
(1902–1991) United States
Poland Yiddish 76 "for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life"[79] novel, short story, memoir 1979 Odysseas Elytis
(1911–1996) Greece Greek 68 "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"[80] poetry, essay 1980 Czesław Miłosz
(1911–2004)
Poland
(born in Russian Empire) Polish 69 "who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts"[81] poetry, essay 1981 Elias Canetti
(1905–1994) United Kingdom
Bulgaria German 76 "for writings marked by a broad outlook, a wealth of ideas and artistic power"[82] novel, drama, memoirs, essay 1982 Gabriel García Márquez
(1927–2014) Colombia Spanish 55 "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts"[83] novel, short story, screenplay 1983 William Golding
(1911–1993) United Kingdom English 72 "for his novels, which with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today"[84] novel, poetry, drama 1984 Jaroslav Seifert
(1901–1986) Czechoslovakia
(born in Austria-Hungary) Czech 83 "for his poetry, which endowed with freshness, and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man"[85] poetry 1985 Claude Simon
(1913–2005) France
(born in French Madagascar) French 72 "who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition"[86] novel, essay 1986 Wole Soyinka
(b. 1934) Nigeria English 52 "who in a wide cultural perspective and with poetic overtones fashions the drama of existence"[87] drama, novel, poetry, screenplay 1987 Joseph Brodsky
(1940–1996) United States
Soviet Union Russian and English 47 "for an all-embracing authorship, imbued with clarity of thought and poetic intensity"[88] poetry, essay 1988 Naguib Mahfouz
(1911–2006) Egypt Arabic 77 "who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind"[89] novel, short story 1989 Camilo José Cela
(1916–2002) Spain Spanish 73 "for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability"[90] novel, short story, essay, poetry 1990 Octavio Paz
(1914–1998) Mexico Spanish 76 "for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity"[91] poetry, essay 1991 Nadine Gordimer
(1923–2014) South Africa English 68 "who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity"[92] novel, short story, essay, drama 1992 Derek Walcott
(1930–2017) Saint Lucia English 62 "for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment"[93] poetry, drama 1993 Toni Morrison
(1931–2019) United States English 62 "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality"[94] novel, essay 1994 Kenzaburō Ōe
(1935–2023) Japan Japanese 59 "who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today"[95] novel, short story, essay 1995 Seamus Heaney
(1939–2013) Ireland English 56 "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past"[96] poetry, drama, translation, essay 1996 Wisława Szymborska
(1923–2012) Poland Polish 73 "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality"[97] poetry, essay, translation 1997 Dario Fo
(1926–2016) Italy Italian 71 "who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden"[98] drama, song lyrics 1998 José Saramago
(1922–2010) Portugal Portuguese 76 "who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality"[99] novel, drama, poetry 1999 Günter Grass
(1927–2015) Germany
(born in Free City of Danzig) German 72 "whose frolicsome black fables portray the forgotten face of history"[100] novel, drama, poetry, essay 2000 Gao Xingjian
(b. 1940) France
China Chinese 60 "for an oeuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama"[101] novel, drama, essay 2001 Vidiadhar Surajprasad Naipaul
(1932–2018) United Kingdom
Trinidad and Tobago English 69 "for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories"[102] novel, essay 2006 Orhan Pamuk
(b. 1952) Turkey Turkish 54 "who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures"[107] novel, screenplay, autobiography, essay 2007 Doris Lessing
(1919–2013) United Kingdom
(born in Iran) English 88 "that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny"[108] novel, short story, memoir/autobiography, drama, poetry, essay 2008 Jean-Marie Gustave Le Clézio
(b. 1940) France
Mauritius French 68 "author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization"[109] novel, short story, essay, translation 2009 Herta Müller
(b. 1953) Germany
Romania German 56 "who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed"[110] novel, short story, poetry, essay 2010 Mario Vargas Llosa
(b. 1936) Peru
Spain Spanish 74 "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat"[111] novel, short story, essay, drama, memoir 2011 Tomas Tranströmer
(1931–2015) Sweden Swedish 80 "because, through his condensed, translucent images, he gives us fresh access to reality"[112] poetry, translation 2012 Mo Yan
(b. 1955) China Chinese 57 "who with hallucinatory realism merges folk tales, history and the contemporary"[113] novel, short story 2013 Alice Munro
(1931–2024) Canada English 82 "master of the contemporary short story"[114] short story 2014 Patrick Modiano
(b. 1945) France French 69 "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the Occupation"[115] novel, screenplay 2015 Svetlana Alexievich
(b. 1948) Belarus
(born in Soviet Ukraine) Russian 67 "for her polyphonic writings, a monument to suffering and courage in our time"[116] history, essay 2016 Bob Dylan
(b. 1941) United States English 75 "for having created new poetic expressions within the great American song tradition"[117] poetry, song lyrics 2017 Kazuo Ishiguro
(b. 1954) United Kingdom (born in Japan) English 63 "who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world"[118] novel, screenplay, short story 2018 Olga Tokarczuk
(b. 1962) Poland Polish 56 "for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life"[119] novel, short story, poetry, essay, screenplay 2019 Peter Handke
(b. 1942) Austria German 77 "for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience"[120] novel, short story, drama, essay, translation, screenplay 2020 Louise Glück
(1943–2023) United States English 77 "for her unmistakable poetic voice that with austere beauty makes individual existence universal"[121] poetry, essay 2021 Abdulrazak Gurnah
(b. 1948) Tanzania
United Kingdom
(born in the Sultanate of Zanzibar) English 72 "for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents"[122] novel, short story, essay 2022 Annie Ernaux
(b. 1940) France French 82 "for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory"[123] memoir, novel
|
||||||
correct_award_00058
|
FactBench
|
3
| 92
|
https://externalrelations.ucmerced.edu/news/2020/uc-merced-professor-arias-wins-guggenheim-fellowship
|
en
|
UC Merced Professor Arias Wins Guggenheim Fellowship
|
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en
|
https://externalrelations.ucmerced.edu/sites/all/themes/UCMerced/favicon.ico
|
https://externalrelations.ucmerced.edu/news/2020/uc-merced-professor-arias-wins-guggenheim-fellowship
|
Arturo Arias, a John D. and Catherine T. MacArthur Foundation professor in the Humanities at UC Merced, has been awarded a Guggenheim Fellowship for his ground-breaking study of contemporary indigenous novels from Guatemala and Mexico.
Arias was one of 173 American and Canadian fellows announced Wednesday by the Board of Trustees of the John Simon Guggenheim Memorial Foundation.
“This fellowship represents a unique honor for any scholar because it recognizes the exceptional value, not just of a single project, but of an entire professional trajectory,” Arias said.
“It also validates the areas of investigation that I have either opened or helped significantly to develop — Central American-American studies, Central American cultural studies and Meso-American indigenous studies — all of which were largely invisible in U.S. academia during the early decades of my career.”
Arias is working on the third volume of his collection “Recovering Lost Footprints: Contemporary Indigenous Narratives,” exploring contemporary novels and short stories from Guatemala and Mexico. The works, which are published in the original language with a Spanish translation, “offer unique (and bilingual) insights into possible responses to current expressions of colonialism,” he said.
The Guggenheim fellowship will allow Arias to complete the third volume, which, in contrast to the first two, features authors who are not Maya but Zapoteco, Nahua, P’urhepecha Rarámuri and Wixárika. Volumes 1 and 2 were published in 2017 and 2018, respectively.
Arias was born in Guatemala in 1950, and his early life was marked by the overthrow of democracy in 1954 and the ensuing military dictatorships and civil rebellions. He began his academic career as a scholar of Central American literature but, over the years, his focus shifted in important ways.
“For example, the absence of any recognition of Central America in what we now call Latinx literature led me to explore the cultural production of a group I call ‘Central American-Americans,’” he said.
In the 1990s, controversy arose over testimony from Nobel Peace Prize recipient Rigoberta Menchu, with some challenging the Guatemalan activist’s veracity. In his 2000 work “The Rigoberta Menchu Controversy,” Arias assembled documents and accounts giving perspective to the debate and the surrounding “culture wars” of the era.
This experience, he recalled, “led me to shift my focus toward indigenous studies. This initiative became linked to the increasing visibility of Native American and indigenous studies in the U.S. and other parts of the world, which eventually led to the foundation of the Native American and Indigenous Studies Association (NAISA).”
This work led the State University of New York Press to invite Arias to be editor of its Trans-Indigenous Decolonial Critiques Series in 2017.
Last fall, Arias was named Visiting Research Scholar in the Program in Latin American Studies at Princeton University. His other honors include being named the Tomas Rivera Regents Professor in Spanish Language and Literature at The University of Texas at Austin in 2013 and a distinguished visiting professor at several universities across the United States and in New Zealand, Spain, Mexico and Brazil.
Arturo has received important awards for his narrative fiction, among them the Casa de las Americas Award for his novel “Itzam Na” (1982), the Anna Seghers Scholarship for “Jaguar en llamas” (1990), and the Miguel Angel Asturias National Award for Lifetime Achievement in Literature (2008) in Guatemala.
Arias’ other published works include “Taking their Word: Literature and the Signs of Central America” (2007); “Critical Edition of Miguel Angel Asturias’s ‘Mulata’” (2000); “The Identity of the Word: Guatemalan Literature in Light of the New Century” (1998); and “Ceremonial Gestures: Central American Fiction 1960-1990” (1998).
Arias joins the 95th class of fellows to be recognized by the foundation. The honorees were chosen through a peer-review process from among almost 3,000 applicants.
“It’s exceptionally encouraging to be able to share such positive news at this terribly challenging time,” foundation President Edward Hirsch said in a statement. “The artists, writers, scholars and scientific researchers supported by the fellowship will help us understand and learn from what we are enduring individually and collectively, and it is an honor for the foundation to help them do their essential work.”
Since its establishment in 1925, the John Simon Guggenheim Memorial Foundation has granted more than $375 million in fellowships to over 18,000 individuals. Created by Simon and Olga Guggenheim in memory of their son, the foundation has sought to “further the development of scholars and artists by assisting them to engage in research in any field of knowledge and creation in any of the arts, under the freest possible conditions.”
|
||||||
correct_award_00058
|
FactBench
|
1
| 64
|
https://bookbrainz.org/author/9904c408-3ddd-43d2-a683-7171415e1d96
|
en
|
Miguel Ángel Asturias (Author) – BookBrainz
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Related Collections
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Click the "Add to collection" button below to add it to an existing collection or create a new one.
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|||||||
correct_award_00058
|
FactBench
|
2
| 31
|
https://www.thebillyleepontificator.com/corn-men/
|
en
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correct_award_00058
|
FactBench
|
0
| 28
|
https://books.google.com/books/about/Mr_President.html%3Fid%3DsrKMEAAAQBAJ
|
en
|
Google Books
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[] |
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[] |
[
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[] | null |
https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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||||||||
correct_award_00058
|
FactBench
|
1
| 72
|
https://www.goodreads.com/book/show/59410869-mr-president
|
en
|
Mr. President (Penguin Classics)
|
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Read 538 reviews from the world’s largest community
for readers. Nobel Prize-winning Guatemalan author Miguel Ángel Asturias's masterpiece--the original La…
|
en
|
/favicon.ico
|
Goodreads
|
https://www.goodreads.com/book/show/73723.The_President
|
November 24, 2021
El Señor Presidente = Mister President = The President, Miguel Ángel Asturias
Mister President is a 1946 novel written in Spanish, by Nobel Prize-winning Guatemalan writer and diplomat: Miguel Ángel Asturias (1899–1974).
A landmark text in Latin American literature, Mister President explores the nature of political dictatorship and its effects on society.
Asturias makes early use of a literary technique now known as magic realism. One of the most notable works of the dictator novel genre, Mister President developed from an earlier Asturias short story, written to protest social injustice in the aftermath of a devastating earthquake in the author's home town.
تاریخ نخستین خوانش: روز نهم ماه نوامبر سال1972میلادی و بار دیگر سال1999میلادی
عنوان: آقای رئیس جمهور؛ میگل آنجل آستوریاس؛ مترجم: زهرای خانلری (کیا)؛ تهران، خوارزمی، سال1348، در408ص، موضوع داستانهای نویسندگان گواتمالایی به زبان اسپانیا - سده20م
داستان «آقای رئیس جمهور»، داستان «استرادا گابررا»، دیکتاتور خشن «گواتمالا»، در نخستبن سالهای سده ی بیستم میلادی است؛ رئیس جمهوری که خود را خدای مردمان آن کشور میدانستند، و بجای مردمان کشور خود، و برای آنها تصمیم گیری نیز میکردند؛ حکومتی که به برهان نارضایتی و شجاعت «افراد ویژه»، به آنها انواع و اقسام جرمها را، نسبت میدهد؛ محکومین، و شاهدهای رویدادهای گوناگون را در زندان، به زور شکنجه، مجبور به اعترافات دلخواه خویش میکند، و ....؛ در این داستانِ سیاست و اختناق، خوانشگر شاهد یک عشق، و سرانجام آن، در چنان حکومتی نیز هست؛ آقای «استوریاس» داستان را با شیوه های خیال آمیز، و شاعرانه با روایتی بسیار زیبا بازگو کرده اند
تاریخ بهنگام رسانی 25/09/1399هجری خورشیدی؛ 02/09/1400هجری خورشیدی؛ ا. شربیانی
April 17, 2020
I read the English translation of this Spanish language novel, which was published in 1946. I broke off reading it about halfway through to better understand the background, and it seems the title character is based on the real-life Manuel Estrada, President of Guatemala from 1898 to 1920. I’d not heard of him before. The story is set during the 1910s.
I’ve read a number of novels by Latin American authors where the reader is taken into a sort of nightmare world, and this is another to add to that list. It seems to me the author wanted to illustrate the effects of dictatorship on society, especially the effects produced by the sort of dictator with which Latin America has historically been so cursed. In this novel the merest chance can lead to someone being tortured or executed, and the society is a sort of kleptocracy where those in power extort money from everyone else. Cruelty and fear are the dominant themes, and people are cruel to one another in the most casual fashion. Others are driven by fear to disown friends and relatives who have been arrested, terrified they will be tarred by association. There are one or two characters who behave with decency, but they are the exceptions. Many of the male characters spend their time getting blindingly drunk. Apparently alcoholism really was a major problem in Guatemala at this time, but I get the feeling the author’s message is that the rottenness of the society he describes was something that originated at the top and spread downwards.
Despite the book’s title, the President is not the main character, that role falling to someone with the curious moniker of “Miguel Angel-Face”, an advisor to the President. Several times his name is linked with the phrase “He was as beautiful and as wicked as Satan”. I found this a curious expression and wondered whether there was something to it that was lost either in translation or across the gaps of time and place. Despite the comparison with old Beelzebub, Miguel is one of the book’s more sympathetic characters. He falls in love with the daughter of one of the President’s political opponents and becomes a better person as a result.
“Magic realism” is another well-known feature of Latin American literature and this novel was one of the early examples of that genre. It isn’t always a style that I appreciate but it’s comparatively restrained in this novel. Most of the dream like sequences are identified as dreams. There are a few mystical elements based around aspects of Catholicism.
Is it hope or depravity that triumphs? It’s a question I would enjoy discussing, and I rate a novel a success when it leaves me with the desire to discuss it with others. However, to take that discussion further in this review would be to include spoilers.
May 13, 2023
С самых первых строк, тех самых ономатопеических, стало ясно, что это великий мастер слова.
"Бьем-бьем-бьем! бьем-лбом, бьем-лбом! – били-били-лбом! – белым лбом… бьем… бьем!… – били колокола, ранили слух, луч сквозь мглу, мгла сквозь свет. – Били-бьем! Би-ли-бьем! Бьем-бьем… белым-белым лбом… бьем! бьем! бьем! "
Но Астуриас не только мастер слова, он мастер и подачи идей, и смешения жанров, стилей и техник. Он виртуозно смешивает исторический роман с магическим реализмом, сюрреализм с потоком сознания, роман о диктаторе с мифологией коренных народов Гватемалы. Его язык образен, ярок и, одновременно, поэтичен и страшен в обличительной силе.
Центральной темой его романа является диктатор и люди, живущие при диктатуре. Он не называет ни страну, ни имени диктатора, и из-за каждый диктатор прошлого или современности чем-то похож на Сеньора Президента.
Этот человек, пришедший к власти, больше всего на свете боится. Боится потерять власть, боится, как близкое окружение, генералов и полковников, так и свой народ. Этот страх поощряет доносительство. Доносят все и на всех тоже из страха. Сеньор Президент может бороться со своим страхом только запугивая и внушая страх всем - и близкому окружению, своим фаворитам, подчинённым, так и простым людям. Этого можно достичь только необузданной жестокостью, изощрёнными, извращёнными пытками духа и тела. Мало просто убить, нужно внушить ужас, нужно истязать. Мало просто посадить в тюрьму, нужно заставить страдать. Вот эту природу страха, присутствующей в любой диктатуре, Астуриас великолепно изобразил.
Страх порождает и культ личности. Сеньору Президенту важно каждый день слышать слова восхваления из страха потерять власть. Его окружению самая неприкрытая лесть позволяет выслужиться, а народу, славословящему диктатору - выжить, подтвердить свою благонадёжность.
Роман полон сновидений или просто видений, как у Кара де Анхеля во время аудиенции у Сеньора Президента, когда перед его мысленным образом возник образ Тоиля - Властителя Огня - требующего человеческих жертв. Эти сновидения и просто видения создают образы, которые играют важную роль в создании параллельного, мистического восприятия сюжетных деталей.
В романе Сеньор Президент убивает не только оружием или нечеловеческими условиями, например лишением воды, но и словом, клеветой или обманом. Отец и муж Камилы умерли от навета, так сильно слово.
Любовь способна изменить человека, считает автор. Но мне кажется, что Мигель, с одной стороны, почувствовал свою неприязнь к патрону и осознал его ничтожность не под воздействием любви. Он продолжал и был готов продолжать свою работу, подавляя свои чувства из элементарного самосохранения и желания благополучия. Но Сеньор Президент, страдая параноидальным страхом никому не верит и часто меняет фаворитов.
На мой взгляд, многие второстепенные персонажи вышли даже сильнее, цельнее главных героев. Таковы образы Пелеле, Федины, кукольника.
April 9, 2012
One of the finest novels you will ever read. It will tear your heart out and all the while make you feel as if something magical is happening. Asturias is a deft weaver of stories, not to mention a grandfather of the magical realism genre in literature. He wrote all his books in Spanish, of course, and I, of course, had to read the translated verions, which must suffer from the kind of loss all translations suffer, and yet, I cannot fathom how this novel could be any better than it is. The essence of Asturias' talent does not get lost in translation here. It may take a little work to get a copy of this...it may cost a little extra money...it's so much more than merely worth it. It's a tale you will never forget.
December 31, 2008
I just finished this novel and it was an exhausting and depressing read. Don't get me wrong; it is a fantastic novel and well worth the time and emotional investment. Asturias writes in an almost poetic prose that really draws you in. His characters are engaging and his settings are such that I was able to really visualize his scenes. The story itself is sad and his words carry you along like a silent observer of some hateful crime that you are unable to prevent but of which you are almost omniscient. It is really frustrating and I found myself wanting to yell out to the characters to "STOP!" several times. And of his characters, Asturias brings seemingly insignificant characters from early chapters back as more major players throughout the story, so if you plan to read this pay attention to every character.
I highly recommend this book, especially to those who enjoy reading works of historical fiction.
October 29, 2013
قرأت هذا الكتاب أثناء وجودي في السجن عام 1991، وكان صادماً بعمقه وتعريته للاستبداد وما يفعله بالبشر، الجميل في الكتاب هو تجربة الانشقاق وتحمل تبعات اتخاذ السبيل الصحيح مهما كانت مؤلمة ومفجعة.
March 14, 2018
Miguel Ángel Asturias's El Señor Presidente is the ultimate novel about Latin American political dictatorships -- and it is also the earliest. It was written in 1933, but for various reasons not published until 1946. It is set during the presidency of Manuel Estrada Cabrera, which lasted from 1898-1920. Although the president is never named, it is set during the First World War, when Estrada Cabrera was in office.
Early in the novel, he president decides to blame General Canales for the death of Colonel Sonriente, one of the leader's favorite hatchet men. (He was actually killed by a loony whom he was teasing.) In the course of executing Estrada's orders, Miguel Angel Face (is it significant that the character has 2/3 of the author's name?) kidnaps the General's daughter and hauls her to a bar across the street. In the process, he falls in love with her and marries her.
This does not sit well with the president: marrying his avowed enemy. The tone of his presidency is set by this comment, which the Judge Advocate makes to one of his servants:
When will you understand that you mustn't encourage people to hope? In my house the first thing everyone, down to the cat, has to learn is that there are never grounds for hope of any description for anyone. It's only possible to go on holding a position like mine if you obey orders; the President's rule of conduct is never to give grounds for hope, and everyone must be kicked and beaten until they realise the fact. When this lady comes back you must return her her letter, neatly folded, and tell her there is no way of finding out where her husband is buried.
Interestingly, Estrada Cabrera was forced out of office after he was unable to lead the country after a series of devastating earthquakes in 1917-1918.
Asturias went on to win the Nobel Prize for Literature in 1967. He has written a number of other novels, which are also excellent, especially Men and Maize and Mulata as well as a trilogy excoriating the United Fruit Company's treatment of the campesinos who worked for it.
October 10, 2018
reaffirms that my sweet spot for literature seems to be the 20s and 30s. Some real gut-punches of brutality, and just exceptionally well written and structured.
elements of surrealism and magical realism, as well as some pure documentary realism, all beautifully mixed together.
in the age of Trump, it is also perhaps useful to engage with a text like this. Power and brutality and selfishness abound....
June 20, 2020
'The President' is the depiction of life under the rule of a cruel and capricious dictator in a nameless South American country. There is an almost acrid atmosphere to the book, as Asturias lures you in with the lurid lives of the characters, from the Machiavellian, but ultimately tragic Angel Face, to the innocent Camilla who is caught up his web of deceit, to the dictator himself, a man consumed with paranoia and hatred.
The nightmarish tone of the novel is set in the opening chapter, which depicts a scene in which various tramps congregate in a church, one of whom ends up murdering a general and, thus setting in motion the events which take place during the book. This nightmarish atmosphere is reinforced throughout the book; from frequent description to the orangeade sky, to the constant stream of betrayals which the characters subject each other too, the people who populate the story are not so much humans as they are puppets dancing on the strings of the all-powerful dictator.
Not only is 'The President' a powerful and prescient depiction of life under a dictator, it is also an exploration of the ceaseless cruelty created by any tyrannically government and the meaningless sense of violence it perpetuates.
July 3, 2018
Bu kitabı ikinci okuyuşum, ilk kez 1971 yılında okumuştum. Siyasi mesajından çok etkilenmiştim, o dönem politik bilinçlenme için önerilen kült kitaplardan biriydi. Yeniden okuduğumda o zaman çok farklı bir kitabı okumuştum herhalde diye düşündüm. Bu kitap ciddi bir edebi eser çünkü. Gerçi abartma, dramatize etme, gerçekçi olmayacak kurgulamaları olsa da, ideolojik bir kitaptan çok edebi yönü olan bir kitap buldum.
Yazar bu kitabı Guatemala’da 1898 ile 1920 yılları arasında ülkeyi diktatörlükle yöneten, hile ile seçim kazanan ve muhaliflerine karşı çok acımasız olan Başkan Manuel Estrada Cabrera’yı yermek için yazmış. Gerçi yıllar farketmiyor, genelde diktatörlerin karşı düşünceye karşı uyguladığı yöntemler üç aşağı beş yukarı aynı.
Bu okuyuşumda kitap beni politik olarak nedense etkilemedi, kitapta yazılanlara karşı duyarsızlaşmak ya da kanıksamak söz konusu olamayacağına göre kitabın okunuş yaşı, zamanı ve o zamanki ruh durumunun ne kadar etkili olduğunu bir kez daha anladım. Okumanızı öneririm, zamanıdır :)
January 11, 2020
It's clear to see how this powerful, incisive gem of a political satire earned Asturias the Nobel Prize for Literature. What's less clear is how it can have fallen into moderate obscurity since then. It remains relevant today and is quite vivid in this excellent translation by Frances Partridge, whose talents earned her the respect of the Bloomsbury Group.
4.5 stars
February 13, 2014
إذا كان الكتاب الروس قد خرجوا من معطف جوجول
فإن كل كتاب أمريكا اللاتينيه قد ثاروا على ديكتاتورياتهم
وخرجوا من أرصفه السيد الرئيس
June 14, 2023
Miguel Ángel Asturias – Prémio Nobel da Literatura, 1967
"pela sua realização literária vívida, profundamente enraizada nos traços nacionais e tradições dos povos indígenas da América Latina"
Uma das coisas boas destas viagens literárias é despachar um país, a Guatemala, junto com um prémio Nobel da Literatura.
Miguel Ángel Asturias (1899-1974) nasceu na Cidade da Guatemala, filho de pai mestiço e advogado, e mãe índia e professora. Foi um consagrado escritor, jornalista e diplomata, reconhecido no mundo da literatura e um dos precursores do «boom latino-americano», que surgiu entre os anos 60 e 70. Viveu exilado durante vários anos, devido à sua oposição pública à tirania. Em 1923 viajou para a Europa, com o objectivo de estudar em Inglaterra, mas acabou por ficar dez anos em Paris, cidade onde escreveu, entre outros, este livro.
O Senhor Presidente foi inspirado no governo do ditador Manuel José Estrada Cabrera, presidente da Guatemala no período de 1898 e 1920, e que afectou directamente a família do autor.
O romance tem como ponto de partida o assassinato de coronel José Parrales Sonriente, um militar próximo do Presidente. A partir daqui tudo serve para perseguir opositores do regime e antigos aliados.
Não pergunte a si mesmo, general, se é culpado ou inocente: pergunte apenas se conta ou não com a proteção do amo, pois um inocente que está mal com o governo, acha-se em piores condições do que se fosse culpado.
Não foi uma leitura fácil (com muitas metáforas e onomatopeias), chegou a ser asfixiante com tanta violência, abusos de autoridade, torturas e acusações, mas valeu a pena.
O peso dos mortos faz a terra girar de noite e o peso dos vivos, de dia... Quando os mortos forem em maior número do que os vivos, a noite será eterna, não terá fim; para o dia retornar faltará o peso dos vivos.
52/198 – Guatemala
July 25, 2021
Enfes bir kitap, enfes. Latin Amerika edebiyatının temel konularından olan “diktatör romanları”nın harika örneklerinden biri. (Marquez’in “Başkan Babamızın Sonbaharı”nı veya Llosa’nın “Teke Şenliği”ni sevenler bunu da sever; bir de Guatemala'ya uğramış olursunuz hem.) Aynı zamanda da büyülü gerçekçiliğin erken dönem örneklerinden biri, ilk sesleri, oluşma adımları. Diktatörlüğün bir toplumda yarattığı yozlaşmayı, toplumsal olanın bireysel olanı ne kadar derinden etkileyip şekillendirdiğini, çürümenin nasıl ve ne biçimde sızabileceğini çok sarsıcı şekilde anlatıyor Asturias. Bir de tabii kelimeler. Nasıl güçlü kelimeler. Kurgunun, karakterlerin başarısı bir yana, bu kitap edebi açıdan da bir cevher elbette ki. Anlattığı vahşet de, aşk da, korku da çok güçlü, çok etkileyici. Bu okuduğum üçüncü Asturias’dı, devamı kesinlikle gelecek. “Sevmek umudunu yitirip yalnızca sevilmekle yetinen sevdalılar gemisine götürün onu…”
April 21, 2014
استمد الكاتب ميغيل انخيل استورياس هذه الرواية من سنوات حكم الديكتاتور كابريرا الذي حكم جمهورية جواتيمالا لسنوات طويلة، هذه الرواية تحكي بشكل دامٍ الكوارث التي يخلفها الاستبداد في روح الشعب وأيامه ومستقبله وكرامته ، ما يحدثه المستبد من شروخ في الجسد الوطني وما يتبع ذلك من فضائع على المستوى الفردي ، النهب والقتل والتلاعب بالقوانين واستخدام السلطة في التنكيل بالآخرين بلا ذنب أو تهمة غالباً ، تحويل الزعيم الأوحد إلى صنم تدور حوله كل الدولة والشعب والقيادات وهو وحده مصدر السلطات وعليه تنعقد آمال الوصوليين والمتسلقين ومصاصي الدماء واللصوص ، الرواية مفعمة بكثير من المشاهد المرعبة وصور المعاناة التي عاشها شعب فقير تحت نير الطاغية وأزلامه ، كذلك تحتوي الرواية بشكل كبير على كثير من تفاصيل الحياة والحكايات والأساطير الشعبية ،، الرواية بدأت بمأساة وانتهت بمأساة وهكذا حياة الشعوب المسحوقة تحت الحكم الدكتاتوري
January 11, 2018
FESTIVAL NARRATIVO
Es un tema recurrente entre los corrillos de entendidos en literatura y críticos que el lenguaje puede salvar a una novela y que, quizás, al final, es lo que perdura de un texto. También es habitual que las editoriales nos vendan novelas que, en sus paratextos, sean elogiadas por la forma en la que están escritas. En el caso de El Señor Presidente, esto es una realidad, porque la obra de Asturias es, fundamentalmente, lenguaje, pero un lenguaje entendido como un personaje más, quizás el auténtico personaje protagonista del texto.
Desde el mismo inicio, desde la primera palabra, desde ese ya archiconocido “¡Alumbra lumbre de alumbre, Luzbel de piedralumbre!”, Asturias ya deja muy clara su voluntad de que el libro será un festival narrativo asentado en todo el poder de la lengua con la que se expresa. Ese primer párrafo define gran parte de la utilización del lenguaje en la novela: la sinestesia, el empleo de onomatopeyas, de palabras que por su sonoridad remiten a otras, la utilidad del adjetivo para conformar la personalidad de los personajes, un derroche de originalidad expresiva en una explosión a veces näif y colorista que, incluso, adorna de una pátina luminosa a las escenas más trágicas, sangrientas o brutales, sabiendo ser delicado en momentos tan terribles como el encarcelamiento y muerte de Miguel Cara de Ángel o la desazonadora, pero no por ello menos lírica, muerte del bebe en brazos de la Niña Fedina mientras, en un golpetazo de realidad, “el amanuense se chupaba las muelas”.
El lenguaje ilumina la novela por completo. En Asturias, el lenguaje narrativo es capaz de levantar mundos y de crear voces personalísimas a través de los discursos que articulan los personajes, repletos de giros característicos, de las formas del habla de las calles o de los palacios, de los políticos y de los poetas, dotando a cada uno de los seres que desfilan por el texto (y son muchísimos) de una personalidad propia que se cuaja en el mismo instante en que abren la boca y se expresan. Ejemplar es la aparición del Señor Presidente, definido por la palabra que utiliza repetidamente en ese capítulo: ANIMAL, con mayúsculas.
Esa delicadeza de orfebre con las formas de hablar de los personajes que tiene Asturias cala en la voz del narrador, incansable en un despliegue de juegos de palabras, retruécanos, onomatopeyas (grande es el valor que concede Asturias a la onomatopeya en su discurso narrativo), incluso en giros rebosantes de originalidad e ingenio que, a veces, recuerdan a las greguerías. El adjetivo de unas ���calles intestinales”, para retratar los suburbios, la onomatopeya de la risa que se articula con las cinco vocales para mostrar una humillación, las asociaciones simbólicas casi surrealistas como “la casa que era una regadera de ladridos”, o la adjetivación barroca para hacernos palpar la niebla que es “estuquería de natas con color de pulque y olor a verdolaga”, así como la repetición de ciertas frases en la reiterada descripción de los personajes importantes al estilo de ese “Miguel Cara de Ángel era bello y malo como Satán”, son ejemplos de cómo se desencadena este festival de narratividad que construye Asturias por y para el uso de un lenguaje que adquiere un relieve por encima de los personajes y las situaciones, llegando a ser, casi, el fin mismo de la novela -de sucesos tan brutales que quizás no podría soportar un lenguaje que no los anestesiara con su lirismo inagotable- ya que, no en vano, se cierra con una abstracción lingüística de pura recitación: la letanía de un rosario. No podía ser de otro modo.
Protagonista: el lenguaje. Una lección magistral que aturde y fascina y emboba. Sonoro, maestro y monumental ejercicio de lenguaje.
Read
August 22, 2021
“The weight of the dead makes the earth turn by night, and by day it is the weight of the living... When there are more dead than living there will be eternal night, night without end, for the living will not be heavy enough to bring the dawn.”
P 219, 1963 Gollancz edition.
January 3, 2018
"...¿Creéis seguir viviendo en un siglo en el que los reyes estaban, como vos os quejáis de haberlo estado, a las órdenes y a la discreción de sus inferiores?… Estoy fundando un Estado en el que solo habrá un amo...¡El Estado SOY YO!..." (Alejandro Dumas, El vizconde de Bragelonne, palabras que pone en boca del rey Luis XIV).
Estas palabras que el gran Alejandro Dumas atribuye al rey Luis XIV denotan claramente el espíritu que ronda y que constituye el fundamento y piedra angular de los regímenes totalitarios, denominación moderna que recibe aquello que, con anterioridad a la Revolución Francesa, era llamado de absolutismo, y en los cuales existe, como ya se ha dicho un solo amo situado en la cúspide de todo y el cual siquiera está sometido a la ley, puesto que su voluntad es la ley misma. Quien crea que estas palabras puestas por Dumas en boca de Luis XIV pertenecen a un pasado remoto, vive en una burbuja apartada de la realidad.
El señor presidente de Miguel Ángel Asturias (Premio Nobel de Literatura) se inscribe en la corriente que podría ser llamada como Literatura de dictaduras pues el trasfondo político llevado al plano literario da lugar a estas novelas. Mi primer contacto con este tipo de obras fue en el ya lejano año de 2001 momento en el cual no contaba yo con más de 15 años y aún cursaba la secundaria (a la que llaman instituto en España), y cuando para un trabajo correspondiente a la clase de Literatura se me asignó la lectura de Yo, el Supremo principal obra del más aclamado escritor de mi país Augusto Roa Bastos (Premio Cervantes en 1989). En esta obra, el autor utiliza el mote de "El Supremo" para hacer referencia a la figura histórica de José Gaspar Rodríguez de Francia, hombre que gobernó Paraguay en solitario desde 1814 hasta su muerte en 1840 y cuyo título oficial era Supremo Dictador de la República (así iniciaba sus documentos oficiales: Yo, el Supremo Dictador de la República del Paraguay).
Con un estilo bastante distinto, Asturias nos presenta a otro Dictador, aquí se tiene una particularidad compartida con Roa Bastos, si en Yo, el Supremo se hace referencia al dictador con el título de El Supremo, Asturias lo hace con el de Señor Presidente, sin que se asigne un nombre propio al dictador que rige los destinos del país, empero los literatos especializados señalan que la figura de este Presidente se basa en el guatemalteco Manuel Estrada Cabrera. Esta afirmación de parte de algunos estudiosos, incluido el autor de la introducción a la edición que he leído (la de que este Presidente se basa en esa figura histórica) me llevó a indagar acerca del período en que ese hombre gobernó Guatemala, tras leer suficiente, pude notar algo llamativo, y es que este dictador sin nombre no necesariamente es guatemalteco, puesto que puede ser extrapolado a cualquiera de los demás países latinoamericanos que, en algún momento de su historia, padecieron este tipo de gobiernos autocráticos.
Latinoamérica no solo es bastante homogénea en cuanto a su configuración étnica (proveniente en lo principal del mestizaje entre autóctonos y españoles) y cultural (en lo esencial seguimos las mismas tradiciones, baste con ver que, por ejemplo, la Semana Santa es festejada de manera casi similar desde Argentina hasta México), sino que la misma historia de esta región es casi convergente en el momento y forma de desarrollarse los hechos. Así, cada país que ha padecido un gobierno dictatorial puede identificarse plenamente con la atmósfera opresiva, sangrienta, injusta y dura descrita por Asturias en esta obra. Así, el dictador sin nombre bien puede ser Alfredo Stroessner, Augusto Pinochet, Rafael Videla, Hugo Banzer, Emilio Medici, Anastacio Somoza, Porfirio Díaz, Fidel Castro, Leónidas Trujillo, Juan Velasco Alvarado, Juan María Bordaberry y tantos otros.
Muchos de los pasajes de este libro me resultaron extrañamente familiares, pues mucho de lo que Asturias hace padecer a sus personajes es el vivo relato de cuanto me ha contado mi madre de la vida bajo el gobierno dictatorial (tengo 31 años, cuando cayó la dictadura de Alfredo Stroessner contaba yo con 3 años, así que no recuerdo nada) que en el caso de Paraguay había durado largos 35 años (1954-1989, fue el segundo período dictatorial después del de Rodríguez de Francia 1814-1840). Una de ellas es el cumpleaños del dictador. En un capítulo del libro, se festeja el onomástico del dictador con una gran fiesta, día de fiesta nacional, con el pueblo saludando al Líder y alabando su gobierno con encendidos discursos, pues bien, aquí en Paraguay, el cumpleaños del dictador (3 de noviembre) era feriado nacional y todos los empleados públicos, docentes, militares y policías estaban obligados a ir rendir pleitesía al dictador, quienes no estaban en la Capital debían festejar tan importante fecha en sus respectivas ciudades.
Asimismo, la opresión relatada, y principalmente las torturas (de hecho uno de los pasajes que me desgarró el alma es uno en que los militares dejan morir de hambre a un bebé para que su madre confiese algo que ni sabía) forman parte del itinerario de todas las dictaduras, al menos de las más recientes, en Paraguay, Argentina, Brasil y Chile existen sendos informes relativos a los abusos a los derechos humanos cometidos en los períodos de gobierno dictatorial, y en el Cono Sur la cuestión fue aún lejos debido a la Operación Condor que constituyó un marco de acuerdo de colaboración entre las dictaduras de Paraguay, Argentina, Chile, Brasil y Uruguay, merced al cual desaparecieron y murieron miles de personas.
La lectura de la mejor obra de Asturias fue como leer un Manual de Historia no solo de mi país sino de casi toda Latinoamérica. Debería hacerme un hueco en mis lecturas de este año para leer La fiesta del chivo de Mario Vargas Llosa, libro basado en el cruel y sanguinario Leónidas Trujillo y quizá, La casa de los espíritus de Isabel Allende.
Cuatro estrellas pues en algunas partes el ritmo de la narración decae, pero no por ello he dejado de disfrutar con esta buena obra. Absolutamente recomendada.
April 5, 2023
Llosa’nın “Teke Şenliği” tadında bir okuma olacağını düşündüğüm için çok yüksek beklenti ile başlamıştım. Belki de bu nedenle beklentimi karşılamadı kitap.
Kitabın ilk bölümlerinde, ana karakter zannettiğim General Canales’in ve Sayın Başkan karakterlerinin daha detaylandırılmış öyküsünü okumak isterdim. 250. Sayfaya kadar General Canales’in başına gelenler ile ilgili bir kelime bile geçmiyor. Sayın Başkan’ın anlatı içindeki payı ise oldukça az yer kaplıyor. Dünyadaki diktatörlük rejimlerinden deneyimimiz nedeni ile başkana peşinen bir karakter yüklüyoruz (ve kuvvetle muhtemel yanılmıyoruz) ama yazar bize sayın başkan karakteri için çok az eklemede bulunmuyor. Ana olaya tanık ya da dahil olanların yaşadıkları üzerinden diktatörlük eleştirisi yapılması elbette çok kıymetli ama eserin bütününde beni tatmin etmeyen bir şeyler var.
——Spoiler ———
General Canales’ in son 50 sayfada birden bire ortaya çıkan ihtilal girişimine dair neden hiçbir şey anlatılmamış anlayan okur varsa lütfen bana da anlatabilir mi? Bence bu eser daha uzun ve ayrıntılı olmalıydı🤷🏻♀️
June 24, 2017
Cuando leo a Miguel Ángel Asturias me siento como en casa. Me viene a la memoria el barrio San José donde crecí, y voy reconstruyendo a partir de ese punto en mi cabeza el centro histórico de principios de siglo XX . Los personajes se desprenden fácilmente de entre la niebla de las calles, que va cediendo ante el colorido relato. A pesar de ser una denuncia clara y abierta a la dictadura de Manuel Estrada Cabrera, no deja de ser jocoso y ameno su discurso. No me extraña que fuera de las fronteras de mi país, pocos sean los adeptos de Asturias pues resulta complicada su traducción; además, siendo precursor del realismo mágico, por momentos se puede perder el hilo de la historia. Ojalá mis connacionales logren descubrir toda la riqueza de esta y otras novelas del autor. Hoy más que nunca necesitamos apoyarnos en los grandes pilares de la historia, para construir una Guatemala más unida.
April 16, 2022
"Başkan'ın güvenini kazanmak için en etkili davranış bir suç işlemek veya kendini savunamayacak kimseleri açıktan açığa aşağılamak veya halka üstün gücünü hissettirmek ya da milletin sırtından zenginleşmektir."
Nobel Edebiyat ödülü verilmiş Guatemalalı yazar M. Angel Asturias'ın büyülü gerçekçilik türünün ilk örneklerinden kabul edilen eseri. Yazarın romanlarımdan en tehlikelisi dediği, Güney Amerikalı diktatör prototipinin başarılı bir şekilde anlatıldığı kitap.
Anlatım diliyle çeviri ve düzeltideki sorunlar nedeniyle başlarda hikayenin içine girmekte zorlandım. Karakterler kafamda oturduğunda anlatı akıp gitti. Metin Almanca'dan Türkçe'ye kazandırılmış. Kitap, Süleyman Doğru, Gökhan Aksay ya da Roza Hakmen gibi yetkin bir çevirmen tarafından orijinal dili olan İspanyolca'dan tekrar dilimize kazandırılsa daha iyi olur kanısındayım.
1922 yılında yazımına başlanıp 1932'de bitirildiği not edilen eser ne yazık ki önemini ve güncelliğini hala koruyor.
June 18, 2023
This masterpiece is the sort of book that will make you fall eternally in love with books if read at a young age, and will remind you of how you fell in love with books if read at a not so young age.
This crushing X- ray of dictatorship with the dictator having little airtime shows the effects of the toxic combination of human deprivation and power (I tend to think the second will inevitably lead to the first) through the lives of those around and under him. The colorful cast features in an intense patchwork – or rather spiderweb – of individual lives painted like vignettes of oppression, during the dictatorship of the Guatemalan Cabrera. The heartbreaking love story delicately woven in exacerbates the pain of individual vulnerability in the face of tyranny. But the most impressive feat of this worthy Nobel winner is the language, oh the language! This is poetry at its highest, cruelest, gentlest.
Not to be missed.
Read
April 11, 2008
This book is one massive, paranoid nightmare. While it drags a bit at times, it's still solid. Not only is it a classic Latin American dictator novel and one of the first magical realist works, it's also worth reading as a surrealist work. Like a Latino Kafka, Asturias scrapes the darkest corners of the paranoiac mind for material, gathering them into a slightly shabby but cohesive whole.
December 24, 2023
2.5*
This book was published in 1946 and for some reason I was expecting this book to refer to a puppet president installed during the Cold War, which is impossible. I had wrong expectations and felt disoriented with this terrifying book. It's no surprise people have no respect for anything and treat each other like animals. The format of the book was really weird on my kindle, which may have affected the enjoyability of my reading. I only started to get into the story when Camilla appeared. She's the symbol of how love is the only thing that can fight against tyranny. Miguel Angel Face was a fascinating character as well, unfortunately I wasn't able to fully grasp his complexity. My own fault. The president is the quintessential dictator, who manipulates the people around him like a puppet master and betrays them to no end. All to feed his own ego. He stages events and those who speak the truth are treated like lunatics and punished. Just shows how crazy (in a bad, extreme way) the world can be if the power balance isn't in check. I didn't enjoy reading this at all.
February 12, 2022
My comments: https://youtu.be/3ShxdI3HunM
Mirror for Colombia of a dictatorship?
In this analysis of the work of the Nobel Prize winner, I highlight several points that show the coincidence between the dictatorship of Manuel Estrada Cabrera in Guatemala and Colombian democracy under the eternal President, where we have extrajudicial executions, corruption, nepotism, criminals who are public servants or public servants who commit crimes, forced displacement to steal lands, massacres, among others. If you dare to see it, I await your comments.
Espejo para Colombia de una dictadura?
En este análisis de la obra del premio nobel, destaco varios puntos que muestran la coincidencia entre la dictadura de Manuel Estrada Cabrera de Guatemala y la democracia colombiana bajo el sempiterno Presidente, donde tenemos ejecuciones extrajudiciales, corrupción, nepotismo, criminales que son servidores publicos o servidores públicos que cometen crímenes, desplazamiento forzado para robar tierras, masacres, entre otras. Si se atreven a verlo, espero sus comentarios.
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Miguel Angel Asturias – Nobel Lecture
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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https://www.nobelprize.org/prizes/literature/1967/asturias/lecture/
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Miguel Angel Asturias
Nobel Lecture
Nobel Lecture, 12th December 1967
(Translation)
The Latin American Novel
Testimony of an Epoch
I would have preferred this meeting to have been called a colloquium instead of lecture – a dialogue of doubts and assertions on the subject that concerns us. Let us start by analysing the antecedents of Latin American literature in general, focusing our attention on those aspects that have most connection with the novel. Let us follow the sources back to the millenarian origins of indigenous literature in its three great moments: Maya, Aztec and Inca.
The following question arises: Was there something resembling the novel among the indigenous peoples? I believe there was. The history of the original cultures of Latin America has more of what we in the western world call the novel than of history. It is necessary to bear in mind that the books of their history – their novels we would now say – were painted by the Aztecs and Mayas and preserved in a figurative form which we still do not understand by the Incas. This assumes the use of pictograms in which the voice of the reader – the indigenous do not distinguish between reading and reciting since for them it is the same thing – recited the text to the listeners in song form.
The reader, reciting stories or ‘great language’, the only person who understood what the pictograms meant, carried out an interpretation, recreating them for the enlightenment of those who listened. Later, these painted stories become fixed in the memory of the listeners and pass in oral form from generation to generation until the alphabet brought by the Spanish fixes them in their native tongues with Latin characters or directly in Spanish. In this way indigenous texts come to our knowledge with very little exposure to European corruption. The reading of these documents is what has allowed us to affirm that, among the native Americans, history has more of the characteristics of the novel than of history. They are accounts in which reality is dissolved in fable, legend, the trappings of beauty and in which the imagination, by dint of describing all the reality that it contains, ends up re-creating a reality that we might call surrealist.
This characteristic of the annulment of reality through imagination and the re-creation of a more transcendental reality is combined with a constant annulment of time and space as well as something more significant: the use and abuse of parallel expressions, i.e. the parallel use of different words to designate the same object, to convey the same idea and express the same feelings. I wish to draw attention to this point – the parallelism in the indigenous texts allows an exercise of nuances that we find hard to appreciate but which undoubtedly permitted a poetic gradation destined to induce certain states of consciousness which were taken to be magic.
If we return to the theme of the origin of a literary genre, similar to the novel, among the pre-Colombian peoples it is necessary to link the birth of this novel form with the epic. The heroic legend, exceeding the possibilities of historical fiction, was sung by the rhapsodists – the great voices of the tribes or ‘cuicanimes’ who toured the cities reciting the texts in order that the beauty of their songs would be disseminated among the peoples like the golden blood of their gods.
These epic songs that are so abundant in pre-Columbian literature, and so little known, possess what we call ‘fictional plot’ and what the Spanish friars and missionaries termed ‘tricks’.
These fictional tales were originally the testimony of past epochs; the memory and fame of high deeds that others on hearing would desire to emulate, this literature of reality and fable is broken in the instant of servitude and remains as one of the many broken vessels of those great civilisations. Other narratives will follow – in this same documentary form – recounting not the evidence of greatness but of misery, not the testimony of liberty but of slavery, no longer the statements of the masters but those of the subjects and a new, emerging American literature attempting to fill the empty silences of an epoch.
However, the literary genres that flourished in the Iberian peninsulas – the realistic novel and the theatre – were not to put down roots here. On the contrary, it is the indigenous effervescence, the sap and the blood, river, sea and mirage that affects the first Spaniard to write the first great American ‘novel’ for the ‘True Story of the Events of the Conquest of New Spain’ written by Bernal Diaz del Castillo deserves to be called no less. Is it not rather bold to describe as a ‘novel’ what that soldier called not history but ‘true history’? But are not novels frequently the true history? I repeat the question: is it really boldness to describe as a novel the work of this illustrious chronicler?
To those who might call me daring in my description I would invite them to enter the cadenced and panting prose of this versatile foot soldier and they will notice how – on entering into it – they gradually forget that what happened was reality and it will seem to them increasingly a work of pure imagination. Indeed, even Bernal himself says no less, next to the very walls of Tenochtitlan: “this seemed to be the work of enchantment that is recounted in the book of Amadis!” But this is the work of a Spaniard – it will be said – although the only thing Spanish about it is its having been written by a ‘peninsular’ resident in Santiago de los Caballeros de Guatemala – where that glorious manuscript is kept – and its having been composed in the old language of Castile although it partakes of that masquerade characteristic of indigenous literature. To Don Marcelino Menendez y Pelayo – this expert in classic Spanish literature – the taste of this prose is strange and the fact that it has been written by a soldier he finds surprising. It escapes this eminent writer that Bernal, at the age of eighty, had not only heard many texts of indigenous literature being recited, being influenced by it, but through osmosis had absorbed America and had already become American.
But there is another more impressive parenthesis. In their last sorrowful cantos the indigenous peoples – now subjugated – call for justice and Bernal Diaz Castillo expresses his deepest feelings in a chronicle which is a howl of protest at the oblivion into which they fell after being “fought and conquered.”
As from this moment, all Latin American literature, in song and novel, not only becomes a testimony for each epoch but also, as stated by the Venezuelan writer Arturo Uslar Pietri, an “instrument of struggle”. All the great literature is one of testimony and vindication, but far from being a cold dossier these are moving pages written by one conscious of his power to impress and convince.
Will the south give us a mestizo? The mestizo par excellence since – in order for nothing to be lacking – he was the first American exile: Inca Garcilaso. This Creole exile follows the indigenous voices already extinguished in his denunciation of the oppressors of Peru. The Inca offers us in his magnificent prose not only the native American – nor only the Spanish – but the mixture materialised in the fusion of the bloods, and in the same demand for life and justice.
To start with nobody discerns the ‘message’ in the prose of Inca. This will be clarified during the struggle for independence. Inca will then appear with the dignity of the Indian that knew how to make fun of the empire of “the two knives” – that is to say civil and ecclesiastical censorship. The Spanish authorities, slow to fathom the message containing so much spirit, imagination and melancholy, wisely order the confiscation of the story of Inca Garcilaso where the Indians have “learned so many dangerous things.”
Not only poetry and works of fiction bear witness. The least expected authors such as Francisco Javier Clavijero, Francisco Javier Alegre, Andres Calvo, Manuel Fabri, Andres de Guevara gave birth to a literature of exiles which is – and will continue to be – a testimony of its epoch.
Even the Guatemalan poet Rafael Landívar has his form of rebellion. His protest is silence – he calls the Spanish ‘Hispani’ without qualifying the adjective. We refer to Landívar because, despite being the least known, he should be considered the standard bearer of American literature as the authentic expression of our lands, our people and landscapes. According to Pedro Henriquez-Urena, “among the poets of the Spanish colonies he is the first master of landscape, the first to break definitively with the conventions of the Renaissance and discover the characteristic features of nature in the New World – its flora and fauna, its countryside and mountains, its lakes and waterfalls. In his descriptions of customs, of the crafts and the games there is an amusing vivacity and – throughout the poem – a deep sympathy and understanding of the survival of the original cultures.”
In 1781 in Modena, Italy, there appeared under the title of ‘Rusticatio Mexicana’ a poetic work of 3,425 Latin hexameters, in 10 cantos, written by Rafael Landívar. One year later in Bologna the second edition appeared. The poet called by Menendez y Pelayo ‘the Virgil of the modern age’ proclaimed to the Europeans the excellence of the land, the life and the peoples of America. He was concerned for the people of the Old World to know that E1 Jorullo, a Mexican volcano, could rival Vesuvius and Etna, that the waterfalls and caves of San Pedro Martir in Guatemala were the equals of the famous fountains of Castalia and Aretusa and referring to the cenzontle – the bird whose song has 400 tones – he elevated it above the realm of the nightingale.
He sings the praises of the countryside, of the gold and silver that was filling the world with valuable coins and the sugar loaves offered at royal tables.
His poem is not short of statistics concerning the riches of America. He cites the droves of cattle, the flocks of sheep, the herds of goats and pigs, the sources of medicinal waters, the popular games – some unknown in Europe – and he does not hide the glory of the cocoa and chocolate of Guatemala. But there is something that we should be aware of in the song of Landivar; namely his love of the indigenous. The Indian, for Landivar, is the race that succeeds in everything, he describes the marvels of the floating gardens created by the Indians, he holds them up as examples of charm and skill without forgetting their great sufferings. In this way he imparts poetic substance – in naturalistic poetry far from symbolism – to a fact that has always been denied: the superiority of the American Indian as farmer, as craftsman and worker.
To the image of the bad Indian, lazy and immoral that was so widely propagated in Europe and accepted in America by those who exploit it Landívar opposes the picture of the Indian on whose shoulders has weighed – and continues to weigh – the burden of labour in America. And he does not do it by simply stating it – in which case we would have the right or not of believing it. In his poem we see the Indian on board his charming canoe, transporting his goods or travelling and we admire him extracting the purple and scarlet, laying out the snowy worms that produce the silk, holding on stubbornly to the rocks in order to remove the beautiful shellfish, patiently and doggedly ploughing, cultivating the indigo plant, extracting the silver from his native mines, exhausting the golden veins… The Rusticatio of Landívar confirms what we have said of the great American literature – it cannot accept a passive role while on our soil a famished people live in these abundant lands. In its content it is a form of novel in verse.
Fifty years later, Andres Bello was to renovate the American adventure in his famous ‘Silva’, an immortal and perfect work in which the nature of the New World appears again with maize the leader – as haughty chief of the corn tribe – the cacao in ‘coral urns’, the coffee plants, the banana, the tropics in all their vegetable and animal power, contrasting the impoverished inhabitant with this grandiose vision ‘of the rich soil.’
Bello recalls Inca Garcilaso in his role as an exile, he is of the American lineage of Landívar, both represent the brilliant start of the great American odyssey in world literature. As from this moment the image of nature in the New World will awake in Europe an interest but it will never attain the incandescent fidelity that is achieved in the work of Landívar and Bello. A distorted vision of the marvels is offered us by Chateaubriand in ‘Atala’ and ‘Les Natchez’.
For the Europeans nature is a background without the gravitational force achieved by Creole romanticism. The romantics give nature a permanent presence in the creations of poets and novelists of the epoch. This is exemplified by José Maria de Heredia singing of the Niagara Falls and Estaban Echeverria describing the desert in ‘La Cautiva’ to mention just two.
Latin American romanticism was not only a literary school but a patriotic flag. Poets, historians and novelists divide their days and nights between political activities and dreaming their creations. Never has it been more beautiful to be a poet in America! Amongst the poets influenced by the Patria converted in Muse are José Mármol, author of one of the most widely read novels in Latin America – ‘Amalia’. The pages of this book have been turned by our febrile and sweaty fingers when we suffered in our very bones the dictatorships that have plagued Central America. The critics, when referring to the novel of Mármol, point out inconsistencies and carelessness without realising that a work of this type is written with a madly beating heart – pulsations that leave in the sentence, in the paragraph, on the page that abnormal heartbeat reflecting the distortion of the life force that troubled the entire country. We are in the presence of one of the most passionate examples of the American novel. Despite the years ‘Amelia’ – the imprecations of José, Mármol – continue to move readers to such an extent as to represent an act of faith.
It is at this very moment that the voice of Sarmiento is heard posing his famous dilemma at the threshold of the century: ‘civilisation or barbarism’. Indeed, Sarmiento himself will be startled when he becomes aware that ‘Facundo’ turns his arms against him and against everyone, declaring himself to be the authentic representative of Creole America, of the America that refuses to die and attempts to break – with a breast already hardened – the antithetical scheme of civilisation and barbarism in order to find between these two extremes the point where the American peoples are able to find their authentic personality with their own essential values.
In the middle of the last century another romantic, no less passionate, appears in Guatemala: José Batres Montúfar. In the midst of tales of festive character the reader feels that he should forget the fiesta to listen to the poetry. The immortal José Batres Montúfar, with abundant charm tinged with bitterness, was able to get to the core of issues that already – in the middle of the past century – were highly charged.
Another voice was to ring out from north to south, that of José Martí. His presence was felt, whether as an exile or in his beloved Cuba, the fre of his speech as poet or journalist being combined with the example of his sacrifice.
The 20th century is full of poets, poets that have nothing more to say with very few exceptions. Among the latter stand out the immortal Rubén Darío and Juan Ramón Molina from Honduras. The poets flee from reality, maybe because this is one of the ways of being a poet. But there is nothing living in much of their work which instead tend towards garrulity.
They are ignorant of the clear lesson of the native rhapsodists, they are forgetful of the colonial craftsmen of our great literature, satisfied with the bloodless imitation of the poetry of other latitudes and ridicule those who sang the bold gestures of the liberation struggle, considering them dazzled by a local patriotism.
It is only when the First World War is passed that a handful of men – men and artists – embark on the reconquest of their own tradition. In their encounter with the indigenous peoples they drop anchor in their Spanish home port and return with the message that they have to deliver to the future.
Latin American literature will be reborn under other signs – no longer that of verse. Now the prose is tactile, plural and irreverent in its attitude to conventions – to serve the purpose of this new crusade whose first move was to plunge into reality not so as to objectify but rather to penetrate the facts in order to identify fully with the problems of humanity. Nothing human – nothing which is real – will be foreign to this literature inspired by contact with America. And this is the case of the Latin American novel. Nobody doubts that the Latin American novel is at the leading edge of its genre in the world. It is cultivated in all our countries, by writers of different tendencies, which means that in the novel everything is forged from American material – the human witness of our historic moment.
We, the Latin American novelists of today, working within the tradition of engagement with our peoples which has enabled our great literature to develop – our poetry of substance – also have to reclaim lands for our dispossessed, mines for our exploited workers, to raise demands in favour of the masses who perish in the plantations, who are scorched by the sun in the banana fields, who turn into human bagasse in the sugar refineries. It is for this reason that – for me – the authentic Latin American novel is the call for all these things, it is the cry that echoes down the centuries and is pronounced in thousands of pages. A novel that is genuinely ours; determined and loyal – in its pages – to the cause of the human spirit, to the fists of our workers, to the sweat of our rural peasants, to the pain for our undernourished children; calling for the blood and the sap of our vast lands to run once more towards the seas to enrich our burgeoning new cities.
This novel shares – consciously or unconsciously – the characteristics of the indigenous texts; their freshness and power, the numismatic anguish in the eyes of the Creoles who awaited the dawn in the colonial night, more luminous however than this night that threatens us now. Above all, it is the affrmation of the optimism of those writers that defied the Inquisition, opening a breach in the conscience of the people for the march of the Liberators.
The Latin American novel, our novel, cannot betray the great spirit that has shaped – and continues to shape – all our great literature. If you write novels merely to entertain – then burn them! This might be the message delivered with evangelical fervour since if you do not burn them they will anyway be erased from the memory of the people where a poet or novelist should aspire to remain. Just consider how many writers there have been who – down the ages – have written novels to entertain! And who remembers them now? On the other hand, how easy it is to repeat the names of those amongst us who have written to bear witness.
To bear witness. The novelist bears witness like the apostle. Like Paul trying to escape, the writer is confronted with the pathetic reality of the world that surrounds him – the stark reality of our countries that overwhelms and blinds us and, throwing us to our knees, forces us to shout out: WHY DO YOU PERSECUTE ME? Yes, we are persecuted by this reality that we cannot deny, which is lived in the flesh by the people of the Mexican revolution, embodied in persons such as Mariano Azuela, Agustin Yanez and Juan Rulfo whose convictions are as sharp as a knife; those who share with Jorge Icaza, Ciro Alegría, Jesús Lara the shout of protest against the exploitation and abandonment of the Indian; those who with Romulo Gallegos in ‘Done Bábara’ create for us our Prometheus. Here is Horacio Quiroga who frees us from the nightmare of the tropics, a nightmare that is as peculiar to him as his style is American. ‘Los ros profundos’ of José María Arguedas, the ‘Rio oscuro’ of the Argentinian Alfredo Varela, ‘Hijo de hombre’ of the Paraguayan Roa Bastos and ‘La ciudad y los perros’ of the Peruvian Vargas Llosa make us see how the life-blood of the working people is drained in our lands.
Mancisidor takes us to the oil fields to which are drawn – leaving their homes – the inhabitants of ‘Cases muertas’ of Miguel Otero Silva… David Vinas confronts us with the tragic Patagonia, Enrique Wernicke sweeps us along with the waters that overwhelm whole communities while Verbitsky and María de Jesús lead us to the miserable shanty towns, the Dantesque and subhuman quarters of our great cities…
Teitelboim in ‘E1 hijo del salitre’ tells us of the gruelling work in the saltpetre mines while Nicomedes Guzman makes us share in the lives of the children in the Chilean working class districts. We feel the countryside of E1 Salvador in ‘Jaragua’ of Napoleón Rodríguez Ruiz and our small villages in ‘Cenizas del Izalco’ of Flakol and Clarivel Alegria. We cannot think of the pampas without speaking of ‘Don Segundo Sombra’ by Guiraldes nor speak of the jungle without ‘La voragine’ of Eustasio Rivera, nor of the Negroes: without Jorge Amado, nor of the Brazilian plains without the ‘Gran Sertao’ of Guimaraes Rosa, nor of the plains of Venezuela without Ramón Díaz Sánchez.
Our books do not search for a sensationalist or horrifying effect in order to secure a place for us in the republic of letters. We are human beings linked by blood, geography and life to those hundreds, thousands, millions of Latin Americans that suffer misery in our opulent and rich American continent. Our novels attempt to mobilise across the world the moral forces that have to help us defend those people. The mestizo process was already advanced in our literature and in rediscovering America it lent a human dimension to the grandiose nature of the continent. But this is a nature neither for the gods as in the texts of the Indians, nor a nature for heroes as in the writings of the romantics, but a nature for men and women in which the human problems will be addressed again with vigour and audacity.
As true Latin Americans the beauty of expression excites us and – for this reason – each one of our novels is a verbal feat. Alchemy is at work. We know it. It is no easy task to understand in the executed work all the effort and determination invested in the materials used – the words.
Yes, I say words – but by what laws and rules they have been transformed! They have been set as the pulse of worlds in formation. They ring like wood, like metals. This is onomatopoeia. In the adventure of our language the first aspect that demands attention is onomatopoeia. How many echoes – composed or disintegrated – of our landscape, our nature are to be found in our words, our sentences. The novelist embarks on a verbal adventure, an instinctive use of words. One is guided along by sounds. One listens, listens to the characters.
Our best novels do not seem to have been written but spoken. There is verbal dynamics in the poetry enclosed in the very word itself and that is revealed first as sound and afterwards as concept.
This is why the great Spanish American novels are vibrantly musical in the convulsion of the birth of all the things that are born with them.
The adventure continues in the confluence of the languages. Amongst the languages spoken by the people, in which the Indian languages are represented, there is an admixture of the European and Oriental languages brought by the immigrants to America.
Another language is going to rain its sparkle over sounds and words. The language of images. Our novels seem to be written not only with words but with images. Quite a few people when reading our novels see them cinematically. And this is not because they pursue a dramatic statement of independence but because our novelists are engaged in universalising the voice of their peoples with a language rich in sounds, rich in fable and rich in images.
This is not a language artificially created to provide scope for the play of the imagination or so-called poetic prose; it is a vivid language that preserves in its popular speech all the lyricism, the imagination, the grace, the high-spiritidness that characterise the language of the Latin American novel.
The poetic language which nourishes our novelistic literature is more or less its breath of life. Novels with lungs of poetry, lungs of foliage, lungs of rich vegetation. I believe that what most attracts non-American readers is what our novels have achieved by means of a colourful, brilliant language without falling into the merely picturesque, the spell of onomatopoeia cast by representing the music of the countryside and sometimes the sounds of the indigenous languages, the ancestral smack of those languages that flourish unconsciously in the prose that is used. There is also the importance of the word as absolute entity, as symbol. Our prose is distinguished from Castilian syntax because the word – in our novels – has a value of its own, just as it had in the indigenous languages. Word, concept, sound; a rich fascinating transposition. Nobody can understand our literature, our poetry if the power of enchantment is removed from the word.
Word and language enable the reader to participate in the life of our novelistic creations. Unsettling, disturbing, forcing the attention of the reader who – forgetting his daily life – will enter into the situations and personalities of a novel tradition that retains intact its humanistic values. Nothing is used to detract from mankind but rather to perfect it and this is perhaps what wins over and unsettles the reader, that which transforms our novel into a vehicle of ideas, an interpreter of peoples using as instrument a language with a literary dimension, with imponderable magical value and profound human projection.
Translated by The Swedish Trade Council Language Services.
From Les Prix Nobel en 1967, Editor Ragnar Granit, [Nobel Foundation], Stockholm, 1968
Copyright © The Nobel Foundation 1967
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correct_award_00058
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FactBench
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1
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https://www.bridgemanimages.com/en-US/noartistknown/1967-nobel-laureate-for-literature-guatemalan-poet-miguel-angel-asturias-receives-congratulations/black-and-white-photograph/asset/2924801
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en
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Image of 1967 Nobelpreisträger für Literatur, Guatemaltekische Dichter Miguel Angel Asturias erhält
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Download von Stock-Bild von 1967 Nobelpreisträger für Literatur, Guatemaltekische Dichter Miguel Angel Asturias erhält Glückwünsche. Okt. 1967- Stock Bildmaterial und historische Fotos von Bridgeman Images.
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Classification class: or # class:57 or #57. Use # for unclassified assets Year year: year:1850 or year:[1700 TO 1800]
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|||||
correct_award_00058
|
FactBench
|
0
| 69
|
https://www.target.com/p/men-of-maize-by-miguel-ngel-asturias-paperback/-/A-90642083
|
en
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By Miguel Ángel Asturias (paperback) : Target
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https://target.scene7.com/is/image/Target/GUEST_31488332-3870-45a9-a3d1-edac655fdb69
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https://target.scene7.com/is/image/Target/GUEST_31488332-3870-45a9-a3d1-edac655fdb69
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[
"Men of Maize - by Miguel Ángel Asturias (Paperback)"
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Shop Men of Maize - by Miguel Ángel Asturias (Paperback) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.
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en
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https://assets.targetimg1.com/static/images/favicon.ico
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https://www.target.com/p/men-of-maize-by-miguel-ngel-asturias-paperback/-/A-90642083
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undefined out of 5 stars with 0 reviews
be the first!
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correct_award_00058
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FactBench
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2
| 71
|
https://bookmarks.reviews/reviews/all/mr-president/
|
en
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All Book Marks reviews for Mr. President by Miguel Ángel Asturias, tr. David Unger
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[
"Fiction",
"Historical",
"Literature in Translation",
"Miguel Ángel Asturias",
"tr. David Unger"
] | null |
[
"Claire Messud",
"Graciela Mochkofsky",
"Manuel Roig-Franzia"
] | null |
A rave rating based on 3 book reviews for Mr. President by Miguel Ángel Asturias, tr. David Unger
|
en
|
Book Marks
|
https://bookmarks.reviews/bookmark-all/
|
With David Unger’s brilliant translation of Mr. President by the Guatemalan Nobel Prize–winner Miguel Asturias, readers are newly invited to encounter the author’s extraordinary and darkly prescient satire of life under brutal dictatorship ... What makes Mr. President extraordinary is not simply its enduring subject, but also its operatic and inventive multiform style: as Martin points out, it’s a novel 'very like a play, a tightly concocted drama (at times a theater of marionettes),' equally cinematic and poetic. It is reminiscent of Kafka and Beckett in its surreal flights within the consciousnesses of the mad or dying, or within the narrative of myth ... The novel’s vision is relentlessly dark, but its execution is exhilarating, daring, even wild. Asturias’s boldness is repeatedly arresting, and his descriptions unforgettable...Such electrifying vividness animates every page. Not without good reason does Vargas Llosa hail Mr. President as 'one of the most original Latin American texts ever written.'
Read Full Review >>
... a formidable new English translation of his crucial work ... the story speaks not only to Latin America’s cycles of tyranny but to a United States and a Europe confronting, for the first time since it was published, in 1946, a new wave of authoritarian leaders on the rise ... what makes “El Señor Presidente” a 'tour de force of great originality,' as the Peruvian novelist Mario Vargas Llosa notes in a foreword to the new translation, is not its plot but its use of language, with invented words, songs, rhythms, and 'astonishing metaphors'.
Read Full Review >>
|
|||||
correct_award_00058
|
FactBench
|
0
| 87
|
https://www.telesurenglish.net/latin-americans-who-have-won-the-nobel-prize-in-literature/
|
en
|
Latin Americans Who Have Won the Nobel Prize in Literature
|
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Since its creation in 1901, a total of 116 writers of up to 25 languages have been awarded the Nobel Prize for literature, the highest award a writer can
|
en
|
teleSURenglish
|
https://www.telesurenglish.net/latin-americans-who-have-won-the-nobel-prize-in-literature/
|
Since its creation in 1901, a total of 116 writers of up to 25 languages have been awarded the Nobel Prize for literature, the highest award a writer can receive. Of them only 6 have been Latin American, the most recent being Mario Vargas Llosa in 2010.
RELATED:
French Writer Annie Ernaux Wins 2022 Nobel Prize in Literature
They are: the Mexican poet Octavio Paz in 1990, the Chileans Gabriela Mistral (1945) and Pablo Neruda (1971), the Guatemalan Miguel Ángel Asturias (1967), the Colombian Gabriel García Márquez (1982) and the Peruvian Mario Vargas Llosa (2010).
Latin American writers who have been awarded the Nobel Prize for Literature stand out not only for their creative genius, but also for their deep commitment to exploring the human condition and complexities of society. From the lyrical poetry of Gabriela Mistral to the magical prose of Gabriel García Márquez, these authors have left an indelible mark on world literature.
Gabriela Mistral received the Prize in 1945. She was second Latin American to receive a Nobel Prize. Born into a family of modest resources, Mistral served as a teacher’s assistant in various schools until obtaining her degree in Magusterium and became an important thinker regarding the role of public education.
Her great poetic themes were pain and love, and among the considerations of the jury to give him the prize was that “her lyrical poetry, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”.
In 1967 the Guatemalan Miguel Ángel Asturias received the Nobel. Novelist, playwright and journalist among his most famous books are the novella Mister President, Men of Maize, Tales of Guatemala, and the The Banana Trilogy. Also Asturias was awarded the Soviet Union’s Lenin Peace Prize for La trilogía bananera (The Banana Trilogy) in which he criticizes the presence of aggressive American companies such as The United Fruit Company in Latin American countries.
“For a poetry that with the action of an elemental force gives life to the destiny and dreams of a continent,” said the Nobel committee when it presented the prize to the Chilean Pablo Neruda in 1971. Of Basque descent, among his most famous poetry books are Residence on Earth, Twenty Love Poems and a Song of Despair, and 100 Love Sonnets.
The Colombian Gabriel García Márquez received the Prize in 1982 “for his novels and short stories, in which the fantastic and the real combine in a world richly composed of imagination, reflecting the life and conflicts of a continent.” Among his main works are the novels One Hundred Years of Solitude, Autumn of the Patriarch, and Chronicle of a Death Foretold.
Octavio Paz poet and essayist Mexican received the Nobel Prize in Literature in 1990. According to the jury he was awarded the prize for his “passionate writing with wide horizons, characterized by sensory intelligence and humanistic integrity”. His poems have been published in anthologies of Mexican poetry translated into English, and other of his most relevant works are Collected Poems, and the essay The Double Flame.
Since 2010, when the Peruvian Mario Vargas Llosa was handed the Nobel Prize, he has not returned to a Latin American writer. His cartography of the power structures and his biting images of the individual’s resistance, rebellion and defeat were the jury’s considerations when deliberating.
Latin American writers who have been honored with the Nobel Prize for Literature have enriched the global literary landscape with their talent, passion and commitment to truth and beauty. Their legacy will endure far beyond the pages of their books, inspiring future generations of writers and readers to explore the infinite possibilities of art and imagination.
Dostoevsky Intercontinental to Be Screened at Moscow Book Fair
French Writer Annie Ernaux Wins 2022 Nobel Prize in Literature
Shakespeare is Left Out of Educational Content in Florida
Peruvian Rebel Poet Enrique Verastegui Dies Aged 68
|
|||||
correct_award_00058
|
FactBench
|
1
| 73
|
https://www.librarything.com/author/asturiasmiguelangel
|
en
|
Miguel Ángel Asturias
|
https://www.librarything.com/favicon_lt_32.ico
|
https://www.librarything.com/favicon_lt_32.ico
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Miguel Ángel Asturias, author of The President, on LibraryThing
|
en
|
/favicon_lt_32.ico
|
LibraryThing.com
|
https://www.librarything.com/author/asturiasmiguelangel
| |||
correct_award_00058
|
FactBench
|
3
| 85
|
https://faircompanies.com/articles/big-homogeneous-isnt-better-on-decentralized-food-systems/
|
en
|
Big & homogeneous isn’t better: on decentralized food systems
|
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[
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] |
[] |
[
""
] | null |
[
"Nicolás Boullosa"
] |
2023-09-28T00:18:42+00:00
|
In his book When More is Not Better, Canadian management professor Roger Martin explains the consequences of decades of efficiency optimization in companies and societal management. The ecology of …
|
en
|
*faircompanies
|
https://faircompanies.com/articles/big-homogeneous-isnt-better-on-decentralized-food-systems/
|
In his book When More is Not Better, Canadian management professor Roger Martin explains the consequences of decades of efficiency optimization in companies and societal management.
When places and people become an abstract data factor, maximizing profit for the short term can have long-term consequences long term:
“We will be in trouble if we convince ourselves that we have to start big—arguing to ourselves that it is a big problem and only big solutions will get the job done. Once again, that is delusional in a complex adaptive system. Complex adaptive systems don’t generally take well to big step-function changes—a bit like the dinosaurs attempting to react to dramatic climate change. If we knew for sure that a big step-function change was in the right direction, it might work. But with a complex adaptive system, not even the smartest mind can know with reasonable certainty—if any certainty at all—what the best direction is. In this context, big is definitively not better.”
“When More Is Not Better: Overcoming America’s Obsession with Economic Efficiency,” Roger L. Martin, Harvard Business Press, 2020; Chapter 10, “Starting big versus starting small.”
With extreme climate events rising, energy and insurance companies are trying to navigate the new scenario by maintaining their influence and avoiding damage—from liabilities to negative externalities—as much as possible.
Preparedness goes mainstream
At the same time, practices pioneered by traditionalists, counterculture purists, and preparedness heads are abandoning their cultish niches and becoming mainstream as individuals and collective entities acknowledge the value of having a strategy of applied resilience (from disaster protocols to maintenance and adaptation plans) in place.
As not only cars or homes but also roads and entire factories can be wiped out by climate events, a paradigm shift is taking place in front of us; only we don’t see it yet.
Those mocking the preparedness attitude of some rural communities as backward or outright fringe-religious have to come to terms with the fact that a cult-like belief in efficiency, taught for decades across the board (from the most prestigious business schools to lobbying by think tanks and powerful companies making modern management the holy grail of our times), made countries weaker and less resilient, as corporations streamlined their operations by offshoring and outsourcing the productive economy they boosted from mature industrial areas in wealthy countries to, especially, China.
Consequently, whole ecosystems of steel production, car and aircraft manufacturing, shipyards, pharmaceuticals, or high-value petrochemical production (associated with manufacturing electronics, advanced chips, solar panels, etc.) closed their doors in advanced economies. In contrast, a select group of Asian corporations headquartered in Taiwan, South Korea, or China, reinforced their ties with Western companies to concentrate the world’s manufacturing.
Modern management’s dirty secrets aren’t much of a mystery: slashing higher costs at home meant embracing procurement and slashing inventories by coordinating offshore providers on-demand, a model praised by some of business school icons, from Daniel Kahneman’s behavioral theory to the business and investment “wisdom pills” of the Warren Buffett/Charlie Munger tandem, GE’s Jack Welch, etc.
The risk of banking it all on efficiency
With anti-monopoly laws losing their former clout, the business mantra of the 90s and early 2000 saw new investment flowing into technology (a sector less reliant on a gigantic, concentrated worker base), and mature companies closed factories, laid off workers, and presented a long-term vision paradoxically stuck in the short-term: growing fast at all costs—even in a slow-growth economy—so investors and stockholders get rewarded. Few followed up on the consequences of such policies, not only for millions of workers but also for entire regions.
As “eliminating redundancies” became the most precious objective of management science and the world became more interconnected, depending on a complex network of procurement backed by the Internet and the economies of scale of concentrated offshore production and container shipments, countries lost their effective powers to rein in a grey-zone of lower-cost foreign production that became de facto subsidized by the markets where the goods were sold.
Foreign direct-investment liberalization, deregulation, privatization, and redundance-fighting corporations and governments benefited from the short-term economic gains of efficiency. It took a pandemic and a series of lockdowns that disrupted production and container shipments worldwide to make the world realize that the business-school cult that fought redundancies and product inventories like religious zealots made everybody dependent on the same components stalled in some Chinese production hub.
Major events affect the way we produce energy, food, and goods. Ongoing phenomena show a world drifting away from the decades of direct-investment liberalization, frictionless international commerce and reverting to a multilateral reality. Not only climate turns more uncertain and supply chains will need to adjust even for corporations that have already turned into de facto sovereign entities, holding their own international policy, whether the trumpeted US-China decoupling happens in reality or not.
Ripple effects in an interconnected world
We all are a part of a big human experiment of interdependence, as if the so-called butterfly effect, which describes how a small change in one place can later affect larger phenomena, were playing in real-time in front of us. Those more prone to suffer from inflation or disruption of international food and goods markets will need to pay more for less.
Several events are already affecting millions of people, though their long-term consequences are likely to be much larger, affecting the lives of a considerably bigger part of the world population than current data acknowledges regarding, for example, the Russo-Ukrainian war, the economic uncertainties that China faces due to an acute credit bust linked to real estate excess borrowing (which in turn affects internal consumption), the rise of AI tools—that could transform entire businesses and even diminish the formerly rosy prospects of having a computer science major—, or instability in Asia due to Chinese aspirations in Taiwan and the South China Sea.
In a corporate world that disproportionately rewards efficiency, any approach destined to reduce potential breaking points by increasing redundancy and establishing any comprehensive strategy of resilience would have been considered as “waste.” That is, up until recently.
But the increased unplanned risks associated with a warmer temperature that holds more moisture and dislocates weather patterns, pouring water in some areas while scorching previous temperate areas are finally transforming the long-held business school dogma that read the world as a frictionless, mostly deregulated business arena ripe for consolidation and technological acceleration, as described by Thomas Friedman’s non-fiction bestseller The World Is Flat, some sort of follow up argument of Francis Fukuyama’s The End of History and the Last Man (1992).
All it takes is a black swan event to prevent the world’s car and smartphone manufacturers from lacking the advanced chips or rare earth materials included in their core components. As climate surprises establish themselves as the new normal, resilience could evolve into the ultimate competitive, long-term skill.
Risks in a globalized food system
Instead of depending on a highly efficient system to produce goods that let others organize the economies of scale of production and distribution, a more complex world both in climate and geopolitics will give an edge to those countries and organizations capable of creating their own strategic networks. However, there’s no haven if the costs of extreme weather events make damages so high that insurance companies abandon entire markets, and producing or shipping things also turns too expensive and unpredictable.
Governments in States like California or Florida, or entire countries and regions (say, the US or the European Union) can afford to take over markets where no private insurers are willing to take the risk to enter, which would increase costs for taxpayers and premiums for customers.
If weather patterns turn more erratic in temperate areas like the upper part of the Mediterranean basin and extremes increase in the fertile monsoon intertropical zones across the world, modern agriculture could face its biggest challenge since the start of the Green Revolution after World War II, once modern fertilizers and genetically modified crops multiplied food production with intensive agriculture —at a high environmental cost with a loss of soil and varieties difficult to measure in its whole extent and potential ripple effects.
The world has used a reductionist model to quantify produced goods, commodities, and foods as if they were predictable assets that can be finetuned for maximum efficiency. When it comes to food production, this mental model has relied on the same rationale that saw the rise of affordable furniture, luxury products, electronics, household appliances, branded clothes, or cosmetics.
When food is less nutritive (and how to revert it)
Like all these markets, strategic food production is globalized and traded or transported similarly, with added challenges (heat effects on food, higher energy costs to justify refrigeration, short optimal lifespan, etc.). Ever since Chicago and Buenos Aires transformed the global meat industry once modern transportation, packaging, and refrigeration justified sending fresh food across the world, food production has risked a decrease in quality and nutrition value due to the “commoditization” of food systems: when agricultural goods for sale are combined in large, interconnected logistic centers, they become a commodity for sale at large and not something perceived as food for home consumption.
There are studies trying to measure the interconnection between environmental decline and nutritional decline of main food staples. One study by Chunwu Zhu (expert in soil science, Chinese Academy of Sciences) states that higher CO2 levels “alter the protein, micronutrients, and vitamin content of rice grains with potential health consequences for the poorest rice-dependent countries.”
The debate about a lack of resilience in interconnected markets, especially when black swan events disrupt mechanisms of arbitration and transportation with few redundancies, shouldn’t be one that believes in only two possible systems: one with exclusive localized food systems; and another that bets on a greater global coordination and considers food, first and foremost, as a commodity like rare metals or oil barrels.
The local-global debate mercantilizes food and forgets about ecological impact, food varieties, cultural significance, or food security during disasters (a matter already mastered by the first heavily centralized civilizations, like those in the Fertile Crescent and Egypt, which would store a part of staples in centralized and protected silos). Resilience, defined as the ability to respond, adapt, and transform when faced with a black swan event, could consider ecological systems and people’s culture and rights, and not only whether food systems are local or global.
Plating water
Modern agriculture could learn from traditional systems to gain resilience, some of which have been used for millennia, like qanats, Persian underground aqueducts interlinking aquifers and wells, a survivalist adaptation when floodplains in Central Asia faced desertification at the beginning of the Bronze Age. A study by Iranian researchers Masoud Saatsaz and Abolfazl Rezaei published in Nature explains the fascinating history of “the technology, management, and culture of water in ancient Iran from prehistoric times to the Islamic Golden Age.”
In the high Andes, several rural communities are recovering pre-Hispanic water management systems. The Incas dug “qochas” in the soil (lakes or ponds of natural or artificial origin) during the rainy season (December to March). It was a technique to “plant water” for the dry months to be able to manage agricultural systems at lower altitudes for the rest of the year: as the qochas gradually filled with water, it would slowly filter through the earth, powering aquifers that reached crops in lower lands.
Water harvesting in the Andes contrasts with the waste and damage of water runoff after heavy storms, an increasing phenomenon as higher temperatures trigger bigger moisture concentrations in storm formation. Traditional water management advocates, like Tucson-based Brad Lancaster, are raising awareness about the opportunity of gathering storm water, diverting it into street vegetation, gardens, and urban food forests. Kevin Lane, a researcher from the McDonald Institute of Archaeological Research in Cambridge, published a study about the sophisticated ancient water technology in the Andes, which could inspire similar system across arid mountain regions subject to monsoons and tropical storms.
Ancient hydroponics and milpa
Different cultures in tropical and subtropical environments across the world developed ways to reach high yields by creating floating gardens at large scale, like those in the districts of Gopalganj, Barisal, and Pirojpur in Bangladesh, or the Aztec “chinampas” in Precolumbian Mesoamerica. The Aztec capital, Tenochtitlan, was a prosperous city with an estimated population of 140,000 inhabitants on the lake Texcoco. Food production in chinampas were an ancient way of producing food and land reclamation.
Aztecs on lake Texcoco created artificial islands by laying woven mats of reeds covered with mud, lake sediment and aquatic plants. The beds, an ancient precursor of hydroponics, were productive and versatile, producing the main Mesoamerican crops, later adopted by the Spanish and distributed across the world during the so-called process of the Columbian Exchange: corn, beans, squash, fruits and vegetables.
Several regions of the Precolumbian Americas developed crop-growing systems that achieved consistent yields by combining several crops at once in fields that didn’t require intensive plowing, pesticides, or fertilizers. In Mesoamerica, the “milpa” consisted of a field with up to a dozen crops at once: maize, avocados, several types of squash and bean, melon, tomatoes, chilis, sweet potato, jicama, amaranth, and mucuna.
As Charles C. Mann explains:
“Milpa crops are nutritionally and environmentally complementary. Maize lacks the amino acids lysine and tryptophan, which the body needs to make proteins and niacin; (…) Beans have both lysine and tryptophan (…) Squashes, for their part, provide an array of vitamins; avocados, fats. The milpa, in the estimation of H. Garrison Wilkes, a maize researcher at the University of Massachusetts in Boston, “is one of the most successful human inventions ever created.”
“1491: New Revelations of the Americas Before Columbus,” Charles C. Mann, 2005
Yet, for some reason, low-impact crop systems like the milpa, capable of self-regulating and attracting animals and insects that guarantee pest control, have only survived residually in some areas of Southern Mexico and Central America.
In Hombres de maíz (Men of Maize), Guatemalan Nobel Prize Miguel Ángel Asturias depicts the remains of the ancient cultural memory of the descendants of the Mayan people, and their belief that human flesh was made of corn, as depicted by the Popol Vuh, one of their sacred books.
A butterfly effect on the positive side
Inspired by oral tradition and old myths affected by the syncretism of the Columbian Exchange, Men of Maize also depicts the milpa as the sacred plot that gives and regenerates life.
During the last decades, amid the expansion of intensive agriculture depending on monocrops (often genetically modified to maximize their outcome) and chemical fertilizers increased yields and expanded food security across the world, a different phenomenon worried experts: the loss of biodiversity, as well as excessive use of water and a fast deterioration of soils affected by runoff.
Some renegade biologists and farmers became advocates of the early organic movement, inspired by the counterculture call to return to the land and achieve self-sufficiency in publications such as the Whole Earth Catalog. Bill Mollison in Australia and Masanobu Fukuoka in Japan promoted non-intensive ways of promoting more sustainable, high-yield agriculture modalities they called permaculture and no-till natural farming, respectively.
Such methods have proved their positive effect on regenerating soils and preventing desertification, although they remain on the fringes, adopted by small farms and DIY enthusiasts but marginal in commercial agriculture. Perhaps they are about to abandon their relative marginality, embraced by former naysayers who now experience unprecedented environmental calamities in front of them. Once thing is clear, nonetheless: the time to remain cynical is over.
The butterfly effect could also revert some of the damage by amplifying some of the best practices embraced by ancient and modern natural farming methods.
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https://blog.bookstellyouwhy.com/collecting-nobel-laureates-miguel-angel-asturias-pablo-neruda
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Collecting Nobel Laureates: Miguel Angel Asturias & Pablo Neruda
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2017-04-05T13:00:00+00:00
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Works from Latin American Nobel Prize in Literature winners Pablo Neruda and Miguel Angel Asturias should be on your shelves. Here's what you need to know.
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Recently, we began spotlighting Nobel Prize in Literature winners from Latin America. Today, we’d like to highlight a couple more of our favorites. Read on for general information, ideas, and collecting points on Miguel Angel Asturias and Pablo Neruda, winners of the Prize at a time in history when the world as a whole was waking up to the amazing works and writers emerging from Latin America.
For more information on our previous Latin American Nobel laureate spotlights featuring Gabriela Mistral and Mario Vargas Llosa, please see the end of this post.
Miguel Angel Asturias
Miguel Angel Asturias won the Nobel Prize in Literature in 1967 and hailed from Guatemala. The Nobel committee cited “his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America" as motivation for the award.
Asturias was a contemporary of other renowned Latin American authors including Mario Vargas Llosa and Gabriel García Márquez, and together they make up the authors who penned groundbreaking and influential works which were published and circulated during the Latin American Literary Boom in the 1960s-1970s. Asturias utilized magical realism in many of his works, and his impact can be seen both in the reception of his work and his ongoing legacy. He is the namesake for the Miguel Ángel Asturias National Prize in Literature, awarded annually in Guatemala since 1988. If you are starting a Latin American literature collection, Asturias must be on your shelves. Here are a few places to begin when looking at his works.
Asturias is often recognized for two primary works: El Señor Presidente (The President) and Hombres de maíz (Men of Maize). First published in 1946 by Costa-Amic in Mexico, El Señor Presidente explores the subject of dictatorship, and the wretchedness that overtakes society as a whole due to political evils of those in power. Second and third editions of the novel with changes by Asturias were published in 1948 and 1952 by Losada in Argentina. An English translation was completed by Frances Partridge and titled The President. It was published in the U.K. by Victor Gollancz in 1963 and in the U.S. by Atheneum in 1964.
Hombres de maíz was published for the first time in 1949 by Losada in Buenos Aires, Argentina. In this novel, Asturias explores the collision of traditional Maya Indian customs and values and those of modern civilization. The novel is in six parts, and is often considered Asturias’ magnum opus. First edition copies of the book with a dust jacket in very good condition can cost a collector around $500.
Another interesting piece for the Asturias collector to explore is his Banana Trilogy. The Banana Trilogy is made up of the novels Viento fuerte (Strong Wind, 1950), El Papa Verde (The Green Pope, 1954), and Los ojos de los enterrados (The Eyes of the Interred, 1960). The trilogy takes as its focus the impact of outside control on the banana industry in Central America. Signed and/or first edition copies of any of the three novels in the trilogy can cost several thousand dollars. If you aren’t looking to acquire a pricey collectible but would just like a reading copy for your shelves, any of the titles in the trilogy still make beautiful additions to one’s library. The storylines in each and the discussion of politics and exploitation were acclaimed in both the East and the West. Asturias even eventually earned the Lenin Peace Prize for his writing.
Pablo Neruda
Pablo Neruda was a Chilean poet who won the Nobel Prize in Literature in 1971 "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams". Indeed, Neruda’s poetry is breathtaking and his influence is vast. In discussing Neruda with Plinio Apuleyo Mendoza for their book of conversations titled The Frangrance of Guava, legendary novelist Gabriel García Márquez described Neruda as “the greatest poet of the 20th century in any language.” His poems have been widely translated, and he amassed devoted readers around the world. Here are a few good places to begin or continue with your own Neruda collection.
When we interviewed Mark Eisner, a Neruda translator and editor, he told us how he was struck by the fact that most people he interviewed for his documentary project on the author cited Canto General, Neruda’s “epic interpretation of this history of the Americas, a bible like book of the history of the Americas,” as their favorite and most important book. As one interviewee put it: “It shows us the Americas’ history from a different point of view...We could call it the history told by the conquered.”
If you’d like to have a collectible copy of Canto General on your shelves, first determine whether you’d like the Spanish language original text or a translated version. First editions of Canto General were published in 1950 by Talleres Gráficos de la Nación in Mexico. The endpapers of this edition were illustrated by David Siqueiros and Diego Rivera. A limited edition print run of 300 copies was done for subscribers—each of the 300 copies was signed by Neruda, Siqueiros, and Rivera. Such a copy in fine condition will sell for over $6,000. The first U.S. edition of the book was published in 1991 by the University of California Press. The translation was done by Jack Schmitt. Copies of the first U.S. edition are much more budget-friendly. A book in fine condition will sell for $100-$150.
Second edition copies of Canto General were published in 1952 by Océano in Mexico. They, too, are much more reasonably priced for the modest collector. A fine or near fine copy of the second edition costs about $200-$300.
Another option for the collector interested in Canto General is to look for separately bound and published copies of poems included in the collection. For example, the Second Canto (of fifteen) in Canto General is titled “The Heights of Macchu Picchu.” The collection of poems which make up this particular Canto was published and translated on its own before Canto General was published as a whole. The first edition of “The Heights of Macchu Picchu” was published by Ediciones de Libreria Neira, Santiago de Chile in 1948. A copy of this text can cost nearly $4,000. English translations of these poems were completed by Hoffman Reynolds Hays in 1948 and published in literary journals in the late 1940s.
Moving on from Canto General to one of Neruda’s most widely read and recognizable works: Twenty Love Poems and a Song of Despair. This is a necessary addition to your Neruda collection. First published in 1924 by Nascimento in Santiago, Chile as Veinte poemas de amor y una canción desesperada, a copy in fine condition will sell for around $15,000. While this may not be realistic for many collectors, rest assured that a second edition copy of the same title (published by Nascimento in Santiago in 1932) sells for a couple hundred dollars. First English translations of the text were completed by W.S. Merlin, and Jonathan Cape published a bilingual version of the book in 1969 which Penguin Books reprinted in 2004.
Finally (but not really finally—we’ve only scratched the surface), Neruda’s Memoirs is another outstanding collectible. Memoirs was originally published as Confieso que he vivido: Memorias in 1974 in both a Spanish and Mexican edition. The first U.S. edition with a translation by Hardie St. Martin was published by Farrar, Straus and Giroux in New York in 1977. These editions cost a couple hundred dollars.
For more information about Pablo Neruda, and to perhaps spark your collecting curiosity, check out our posts on visiting his homes, the politics of exhuming his body, Copper Canyon’s release of his “lost poems” (another noteworthy, present day collectible!), and our full interview with Mark Eisner.
For more information about our previous Latin American Nobel laureate spotlight on Gabriela Mistral and Mario Vargas Llosa, click here.
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Miguel Angel Asturias
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Poems by Miguel Angel Asturias. Considered Guatemala's greatest writer and the father of magical realism, Miguel Angel Asturias was awarded the 1967 Nobel Prize in Literature.
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Considered Guatemala's greatest writer and the father of magical realism, Miguel Angel Asturias was awarded the 1967 Nobel Prize in Literature.
Miguel Angel Asturias was both a writer and a social champion. He spent his life fighting for the rights of Indians, for the freedom of Latin American countries from both dictatorships and outside influences—especially the United States—and for a more even distribution of wealth. He wrote mainly about the ancient Quiche culture. He was best known for his novels, such as El senor presidente and Hombres de maiz, but he was also a notable short-story writer, poet, dramatist, and translator. He won the Nobel Prize for literature in 1967.
Asturias was born a year after the dictator Manuel Estrada Cabrera came to power in Guatemala. Born October 19, 1899, in Guatemala City, to Ernesto Asturias, an attorney and district court judge, and Maria Rosales de Asturias, a teacher, Asturias lived a life full of political intrigue and saw many changes of government in his home country. After Ernesto Asturias dismissed a case against some medical students who were protesting the Cabrera regime, he was dismissed from his judicial position and disenfranchised, and he and his family were forced to flee Guatemala City. They went to the small town of Salama where some of the Asturias' Indian relatives lived. It was during this time of exile that Asturias learned about the Mayan culture from his mother and his Indian nanny, Lola Reyes. He learned many things at this time that would later appear in his writing. The Asturias family returned to Guatemala City in 1906 at which time Asturias' father became a sugar and flour importer. In an interview translated in Review magazine, Asturias recalled how he started writing. "I wanted to be a writer, and I became one when the great earthquake [at 10:20pm on December 25, 1917] destroyed Guatemala City. During that period I wrote my first poems and my first short stories. Someone even saw fit to publish them."
After finishing high school, Asturias went to college and received his degree in law from the Universidad de San Carlos de Guatemala. His graduate thesis Sociologia guatemalteca: El problema social del indio (Guatemalan Sociology) won him both the Premio Galvez and the Chavez Prize for his lively prose. He also co-founded the Universidad Popular de Guatemala (People's University), a place where lawyers, engineers, and doctors conducted free classes for workers and peasants. His leftist political views under the regime of president Jose Maria Orellana led to a brief imprisonment. He was sent to London by his father partly to get him out of harm's way and partly to study international law and economics. He quickly found himself, however, more engrossed with the Mayan materials at the British Museum than his studies and soon after moved to Paris to study anthropology instead.
While he was in Paris, Asturias met many notable literary and scholarly figures, including Ramon del Valle-Inclan, Miguel de Unamuno, James Joyce, Andre Breton, Pablo Picasso, Alejo Carpentier, Tristan Tzara, Pablo Neruda, Robert Desnos, Alfonso Reyes, Arturo Uslar Pietri, and Louis Aragon. He studied at the Sorbonne with another famous scholar, Georges Raynaud—a specialist in Mayan culture. Raynaud had translated the Popol Vuh, a sacred Mayan text, from the original language into French, and later, under his tutelage, Asturias translated the book from French into Spanish.
Around the same time, Asturias published a book of stories called Leyendas de Guatemala, a collection of Indian tales. Asturias categorized the book, a mix of Indian lore and realism, as "magical realism." In an interview translated in Review magazine, Asturias described what this term meant: "An Indian, or a mestizo, someone who lives in a small village, tells of having seen how a cloud or an enormous stone changed into a person or into a giant, or how the cloud became a stone…. The Indian thinks in images. He does not see things in process, but he always displaces them into another dimension, in which we see the real disappear and the dream emerge, in which dreams are transformed into tangible and visible reality."
Asturias returned to Guatemala in 1933 during the regime of Jorge Ubico. He spent his time during Ubico's term in office writing poetry and supporting himself with journalism and a professorial post. In 1939 he married Clemencia Amado, with whom he eventually had two sons, Rodrigo and Miguel Angel (the couple divorced in 1947). In 1946, when a more liberal government had taken power, Asturias published the book El senor presidente, a novel originally written in protest of the dictatorship of Manuel Estrada Cabrera, but which came to be applied toward the horrors perpetrated by every dictator who ever ruled over a Central American country. It has been called an affecting story of a nation that was controlled by terror. He had been working on the book since 1922.
From 1946 to 1954 Asturias served as Guatemalan ambassador to Mexico, Argentina, and El Salvador. He continued to publish during this time. Hombres de maiz was a six-part novel about Indian cultures' problems when faced with progressive modern technology. It was a novel filled with magic and metaphor he learned during his time with the Mayans. The Latin American Literary Review said of Asturias' writing, "[Far] too taken with existence, his own existence, to actively and sympathetically become engrossed with Europe's post-war hassles, Miguel Angel promptly disrobed reality of her austere dress and affectionately arrayed her in the sensual, colorful, transparent silks of his mind's fancy."
He next wrote a trilogy of books all concerned with oppressive North American influences on Central American workers. Viento fuerte (Strong Wind), El papa verde (The Green Pope), and Los ojos de los enterrados (The Eyes of the Interred), have often been found by critics to be aggressive and lacking in the magical poetic quality of Asturias' other works, although they remained three of Asturias' favorite works. The same is true of the book of short stories titled Weekend en Guatemala, a collection of angry stories concerning the invasion of exiled leader Carlos Castillo Armas, who Asturias contended had the help of the United States. In an interview translated in Review, Asturias said of the trilogy, "The trilogy means a lot to me because there was an existential conscientiousness in its origin that I hadn't previously taken very seriously. When I faced the reality of the plantations, my conscience awoke. And that was the reality of my country, not an invention of mine; it was in no way imaginary.
I repeat: it was the reality of my country that reduced me to a state of despair and forced me to tell myself and others what is contained in these novels."
Asturias, after divorcing his first wife, met and married his second wife, Blanca Mora y Araujo, in 1950. She was Argentinian, so when Asturias was deported in 1954 and lost his Guatemalan citizenship, he went to live in Buenos Aires. He lived there for eight years before the political situation became too dangerous for his family, and then he and his wife headed for Europe. They eventually settled in Paris. He is said to have credited his second wife with making him believe in life again after a long spell of disenchantment.
Asturias and his wife were living in Genoa when his novel Mulata de tal was published. According to I&L, "Miguel Angel Asturias' Mulata de tal is carnival incarnated in the novel. A ribald bacchannalia, it represents a collision between Mayan Mardi Gras and Hispanic baroque. This is a book where masks and metamorphosis are the norm; punning, the lingua franca; and sexual fantasy and farce, the common denominator of all relationships." It was said by the Hispanic Review to be "sufficiently obvious that the whole art of this novel rests upon its language. In general, Asturias matches the visual freedom of the cartoon by using every resource the Spanish language offers him. His use of color is striking and immeasur-ably more liberal than in earlier novels."
In 1966 Asturias won the Lenin Peace Prize and was also named the Guatemalan ambassador to France by the new government of President Julio Mendez Montenegro. He won the Nobel Prize for literature in 1967. After his death in 1974, Guatemala established an award in his name, the Miguel Angel Asturias Order. He was a man who believed deeply in maintaining Native American culture in Guatemala, and who championed those who were persecuted. His literature was critically acclaimed, but perhaps not always appreciated. According to The Review of Contemporary Fiction, "As an artist, his complexity is such that readers and critics often shy away from his elegant beauty." His magical realism wove a spell around readers, and it is to be believed his works will be appreciated for years to come.
Read more →
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2018-05-29T20:58:11-07:00
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Posts about miguel-angel-asturias written by Tarnmoor
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Miguel Ángel Asturias (1899-1974) was the greatest writer that Guatemala ever produced. Although many of his owrks were translated into English, most are out of print now and hard to find. Here is a short poem by Asturias that I hope you’ll like. It’s called “Caudal (The Fortune)”:
To give is to love,
To give prodigiously:
For every drop of water
To return a torrent.
We were made that way,
Made to scatter
Seeds in the furrow
And stars in the ocean.
Woe to him, Lord,
who doesn’t exhaust his supply,
And, on returning, tells you:
“Like an empty satchel
Is my heart.”
When Martine and I visited Paris’s Père Lachaise cemetery in 2000, we turned a corner and suddenly found a very Mayan stela commemorating the Guatemalan writer.
34.052234 -118.243685
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It was almost twenty years ago that Martine and I were wandering through Paris’s gigantic Père Lachaise cemetery in the 20th Arrondissement. There were a number of surprises, one of which was the grave of Miguel Ángel Asturias, who died in 1974. Rising above a bronze funerary plaque is a Maya stela similar to the ones found at the ruins of Quiriguá in his native country. To this day, he is Central America’s lone winner of the Nobel Prize for Literature, which was awarded to him in 1967.
I have been interested in visiting Guatemala for many years. During the time I was most available to go, Guatemala was in the middle of fighting an armed insurrection by a mostly Maya peasantry who were tired of being forced off their land, enslaved, or massacred. Between 1960 and 1966, some 200,000 Guatemalans died fighting, mostly Maya campesinos. I have just finished re-reading Asturias’s first major novel, El Señor Presidente, set during the presidency of Manuel Estrada Cabrera, who ruled from 1898 to 1920. I have been a big Asturias fan since 1975.
Now that I am pretty much decided on Guatemala as my next vacation destination, I will add at least two or three more Asturias novels to the ones I have already read. To date, I have finished:
El Señor Presidente (1946), his most famous novel
Men of Maize (1949)
Strong Wind (1950), the first volume of the United Fruit Company trilogy
Mulata (1963)
I plan to finish the other two volumes in the trilogy—The Green Pope (1954) and The Eyes of the Interred (1960)—both of which were translated by Gregory Rabassa, one of my favorite translators from the Spanish.
Although Asturias is so identified with the Maya, it is interesting to note that he comes from a well-to-do Creole family that could trace its origins back to 1660.
34.052234 -118.243685
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correct_award_00058
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FactBench
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2
| 67
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https://www.thenation.com/article/culture/my-president-mario-vargas-llosa/
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en
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Miguel Ángel Asturias’s Struggle Between Good and Evil
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2022-07-05T09:00:02+00:00
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The Nation Magazine
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en
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https://www.thenation.com/wp-content/themes/thenation-2023/images/favicon.ico?ver=3.0
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The Nation
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https://www.thenation.com/article/culture/my-president-mario-vargas-llosa/
|
Mr. President grew out of “Political Beggars,” a short story that Miguel Ángel Asturias wrote in December 1922 before leaving Guatemala for Europe. The novel was first published in 1946 in an edition full of errors that Asturias corrected for the second edition (Buenos Aires: Editorial Losada, 1948). Indeed, he worked longer on this novel than on any other of his published books, even though he had abandoned the manuscript for long periods of time. The novel carried this annotation: “Paris, November 1923–December 8, 1932.” According to most critics, and the author’s own account, this novel was inspired by the dictatorship of Manuel Estrada Cabrera, who ruled as lord and master of Guatemala for 22 years, from 1898 to 1920.
At the behest of family friends, Asturias had gone to London in 1923 to study economics. He suddenly had a change of heart and went to Paris to take classes at the Sorbonne with Professor Georges Raynaud. It was in Raynaud’s courses that he discovered Mayan culture and spent years translating the Popol Vuh, the sacred book of the Mayas. In Paris he wrote poems and the novel Legends of Guatemala (1930), and also continued working on Mr. President, which was almost completely written in France.
There’s a certain confusion about this novel, to which Asturias himself contributed. At the time, he championed social and protest fiction, the kind that revealed the horrors that Latin American dictators had committed. On many occasions, he claimed that his book belonged to the genre of politically engaged novels.
Undoubtedly, this is one important aspect of Mr. President. The novel deals with prototypical Latin American realist or local color themes, based on the dramatic historical circumstance that dictators ruled most Latin America countries. But even though Asturias’s novel depicts this constant and recurring reality, it surely isn’t its most important aspect, or this lively story wouldn’t have stood out from these somewhat un-sophisticated novels or survived the test of time.
To be sure, like many other Latin American novels, Mr. President fits in the category of the politically engaged novel. It depicts the havoc that dictatorships play in triggering human tragedies, economic catastrophes, and corruption in our countries. But Asturias does this in a unique way, frequently employing subtle, original, and unusual literary devices, without displaying the formal weaknesses and shortcomings often found in Latin American protest literature. More important, he does this in a much broader context than the typical social or political testimonial novel.
Asturias frames his novel as the struggle between good and evil in an underdeveloped society where evil seems to triumph. There isn’t a single character in the novel that is saved—not even the young Camila, who is blackmailed into marrying the dictator’s favorite confidant: the handsome Miguel Angel Face. She even attends a reception in the palace of the president who has imprisoned her father, the exiled General Eusebio Canales, the supposed murderer of Colonel Parrales Sonriente and who ends up poisoned near the novel’s conclusion. All the characters—whether they are soldiers, judges, politicians, wealthy or poor, the powerful or the downtrodden—epitomize evil. They are thieves, cynics, opportunists, liars, corrupt or violent individuals, drunkards, servants—in short, among the most repugnant and disgusting of human beings. And probably even Mr. President—who decides who is to live and who is to die and is a drunkard, a traitor, the mastermind of hundreds of twisted intrigues—isn’t the worst of all. That designation goes to either his judge advocate or Major Farfán, who, on orders of the head of state, perpetrate the most violent, outrageous crimes: the former when he questions, humiliates, and punishes Fedina de Rodas for crimes committed by her husband, Genaro, against the Dimwit; and the latter, by detaining Miguel Angel Face at the harbor as he’s about to leave for New York on presidential orders. Miguel is arrested, beaten mercilessly, and buried in an underground dungeon where he has only two hours of light each day. He is fed filth and survives by slowly rotting, dying little by little while his wife, Camila, contacts diplomats and politicians all over the world, even in Singapore, hoping he is safe only to learn, too late, that Angel Face is also a victim of a monster who controls everything—lives, deaths, and taxes are within his realm—with his little finger.
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What is unique and what transforms this demonic book filled with hideous episodes is Asturias’s artistry, which is made evident by the novel’s formal structure and its original use of language.
Mr. President is qualitatively better than all previous Spanish-language novels. Marvelously controlled, the novel’s language owes much to Professor Reynaud’s lectures on surrealism and other avant-garde movements in vogue in France while Asturias was writing it. No doubt he was also deeply affected by nostalgia for his far-off country at the other end of the world and the many years he had been away from Guatemala getting together with his South American friends at Montparnasse’s Café de la Rotonde. His work was influenced by automatic writing, the mixing of reality and dreams—nightmares, I should say—an unusual poetic musicality, and the merging of forms that convert history into a grand novelistic and poetic spectacle and where reality becomes street theater and apocalyptical fantasy at every turn.
The first chapter, “In the Portal del Señor,” is unforgettable. A swirl of one-armed, one-eyed, blind, crippled beggars have been reduced to the most primitive bestiality and mistreat one another with the deepest of misery and savagery. Pelele—the Dimwit—is one of them; this poor devil is later needlessly killed by Lucio Vásquez. At the book’s end, the dictatorship remains intact—of course, the Portal del Señor is destroyed, but the hideous system it symbolizes is not.
Asturias’s language is multifaceted and not the Spanish that all the characters in the story utilize. Despite their lack of decency, the upper classes speak a more or less correct Spanish. This is also the case for Angel Face, Camila, a handful of ministers and officers, and even Mr. President. But as the novel explores the language of the lower classes, the richness and invention of expression increases and shifts, introducing invented words, songs, audacious grammatical renderings, astonishing metaphors, rhythms, terms generally associated with native insects, plants, and trees. A provincial world of untamed nature not yet dominated by man is depicted in a country that finds itself isolated and changing slowly, before the advent of cars and airplanes, and in which a trip to New York involves a long train ride and boat journey. Guatemala isn’t mentioned even once, but that doesn’t matter—everything points to that unfortunate, yet beautiful country: the capital is far from the ocean, surrounded by rivers, jungles, and volcanoes. Its unfortunate citizens would know only hideous dictatorships until long after the novel ends—at least until 1950—and incorporate into their thoughts and diction an extraordinary glibness, inventing words, fantasizing and improvising as they speak, endlessly creating in everything they say and exclaim, thus transforming reality into enchantment—a hellish one at that—where time goes in circles, around itself, as in a nightmare. Life is depicted as a theatrical tragedy repeated endlessly and where human beings are merely actors and, at times, mythical characters. Chapter XXXVII, “Tohil’s Dance,” in particular, is more like a painting or mural inspired by the distant ancestors of the K’iche’ Maya archeological past, a historical reminiscence that connects to Guatemala’s rich history. All of the other chapters correspond to an updated present in which a humble, isolated, and primitive people—subjected to the indescribable horrors of a brutal, incarcerating regime—live in abject poverty. But there’s something that supports the country’s people and keeps it from vanishing: the vital and extraordinary strength with which they withstand mistreatment and humiliation, a tragic existence steeped in muck, jungle, and animals and in the hugely creative way they survive and employ language. Despite the depths of its social and political disgrace, its people are capable, nonetheless, of creating and taking on a distinct personality, inventing a new language, music and rhythms that shape it, and which makes it unique and guarantees its survival.
Asturias achieved something unique in this novel. Its linguistic beauty is part of the historical truth: the Guatemalan way of speaking is creative and personal. Asturias isn’t a mere scribe to that linguistic reality, but also its creator—someone who chooses to dive into the bottomless fountain of how a nation and its people speak, but also managing to polish and add something of his own fantasies, obsessions, and excellent ear to give it his own personal stamp. Mr. President is undoubtedly a work of art, a true tour de force of great originality and creativity, perhaps closer to poetry than to fiction or, perhaps, a rare merging of these two genres.
Many episodes in the novel begin in a realistic vein but, little by little, Asturias constructs a visionary and metaphorical poetic language, which leads him to discard a realistic, objective landscape for one of legend, dream, theater, myth, and pure invention. This is what makes this novel so unique, so new, and of such a high literary value that almost a century later, Mr. President continues to be one of the most original Latin American texts ever written.
Asturias’s nostalgia for his native land certainly played an important role in the writing of this novel. And yet, the distance between Asturias and Guatemala—he was living in Paris—gave him a kind of freedom that many writers living in their homelands did not have, since they were forced to experience a brutality that impeded their ability to write freely, without fear of persecution and censorship. Probably Miguel Ángel Asturias wasn’t fully aware of how great a novel he had written and whose magnitude he would never again repeat, because the novels, short stories, and poems he wrote afterward were closer to the narrower, somewhat demagogic literature of “committed” dictator novels that he had earlier championed. He hadn’t realized that the great merit of Mr. President was precisely that he had broken that tradition and raised the politically engaged novel to an altogether higher level.
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https://www.britannica.com/biography/Miguel-Angel-Asturias
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en
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Miguel Ángel Asturias | Nobel Prize, Guatemalan literature, Mayan culture
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Miguel Ángel Asturias was a Guatemalan poet, novelist, and diplomat, winner of the Nobel Prize for Literature in 1967 (see Nobel Lecture: “The Latin American Novel: Testimony of an Epoch”) and the Soviet Union’s Lenin Peace Prize in 1966. His writings, which combine the mysticism of the Maya with
|
en
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/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/biography/Miguel-Angel-Asturias
|
Miguel Ángel Asturias (born October 19, 1899, Guatemala City, Guatemala—died June 9, 1974, Madrid, Spain) was a Guatemalan poet, novelist, and diplomat, winner of the Nobel Prize for Literature in 1967 and the Soviet Union’s Lenin Peace Prize in 1966. His writings, which combine the mysticism of the Maya with an epic impulse toward social protest, are seen as summing up the social and moral aspirations of his people.
In 1923, after receiving his degree in law from Guatemala’s University of San Carlos, Asturias settled in Paris, where he studied ethnology at the Sorbonne and became a militant Surrealist under the influence of the French poet and movement leader André Breton. His first major work, Leyendas de Guatemala (1930; “Legends of Guatemala”), describes the life and culture of the Maya before the arrival of the Spanish. It brought him critical acclaim in France as well as at home.
Britannica Quiz
Poetry: First Lines
On his return to Guatemala, Asturias founded and edited El diario del aire, a radio magazine. During this period he published several volumes of poetry, beginning with Sonetos (1936; “Sonnets”). In 1946 he embarked upon a diplomatic career, continuing to write while serving in several countries in Central and South America. From 1966 to 1970 Asturias was the Guatemalan ambassador in Paris, where he took up permanent residence.
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FactBench
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2
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https://www.expatica.com/es/general/spanish-speaking-winners-of-the-nobel-prize-for-literature-31201/
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en
|
Spanish-speaking winners of the Nobel Prize for Literature
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2010-10-06T22:00:00+00:00
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With the awarding of the 2010 Nobel Prize for Literature to Mario Vargas Llosa of Peru, a total of 11 Spanish-speaking writers have won the award, five from Spain and the rest from...
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/favicon.svg
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Expatica Spain
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https://www.expatica.com/es/general/spanish-speaking-winners-of-the-nobel-prize-for-literature-31201/
|
With the awarding of the 2010 Nobel Prize for Literature to Mario Vargas Llosa of Peru, a total of 11 Spanish-speaking writers have won the award, five from Spain and the rest from Latin America.
Here is a short factfile:
2010
— Mario Vargas Llosa, Peru.
Prolific 74-year-old novelist who once ran for the president of his country. The Nobel committee hailed “his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat.”
1990
— Octavio Paz, Mexico:
Poet, novelist and diplomat who wins the prize at age 76, and dies in 1998. The Committee cites his “impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity.”
1989
— Camilo Jose Cela, Spain:
Novelist, poet, essayist and travel writer who wins the award at 63, and dies in 2002. The Nobel Committee praises “a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability.”
1982
— Gabriel Garcia Marquez, Colombia:
His “Hundred Years of Solitude” is the best-known of all Latin American novels, and has sold some 30 million copies worldwide. “The fantastic and the realistic are combined in a richly composed world of imagination,” said the committee. Garcia Marquez is 54 when he wins the prize.
1977
— Vicente Aleixandre, Spain:
Poet who wins the prize at age 79, and dies in 1984. Honored “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society.”
1971
— Pablo Neruda, Chile:
The most famous Chilean poet, who wins the prize at age 67, and dies in 1973, just 12 days after his country’s democratic government is overthrown and replaced by a military dictatorship.
The Nobel Committee praises “poetry that with the action of an elemental force brings alive a continent’s destiny and dreams.”
1967
— Miguel Angel Asturias, Guatemala:
Student of his country’s native Indian populations, who works for many years in France and wins the prize at age 67. Is honored for “his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America.” Dies in 1974.
1956
— Juan Ramon Jimenez, Spain:
Lyrical poet who leads a revival of Spanish literature. Wins the prize at age 66 and dies two years later.
The committee praises him for “lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity.”
1945
— Gabriela Mistral, Chile:
Poet who becomes the fifth woman to carry off the prize at at age 47, and also leads a diplomatic career. Dies in 1957; is cited by the Nobel Committee for “her lyric poetry which… has made her name a symbol of the idealistic aspirations of the entire Latin American world.”
1922
— Jacinto Benavente, Spain:
Playwright and poet renowned for the purity of his style. Wins the Nobel Prize at 56, and dies in 1954.
Is cited for “the happy manner in which he has continued the illustrious traditions of Spanish drama.”
1904
— Jose Echegaray y Eizaguirre, Spain (with Frederic Mistral of France):
Romantic playwright who also had a career as a scientist and government minister. Wins the award at 82, and dies in 1916.
Is praised by the Nobel Committee for “the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama.”
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FactBench
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https://www.rem.routledge.com/articles/asturias-miguel-angel-1899-1974
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en
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Routledge Encyclopedia of Modernism
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Access to the full text of the entire article is only available to members of institutions that have purchased access. If you belong to such an institution, please log in or find out more about how to order.
Article
Asturias, Miguel Ángel (1899–1974) By McGinn, Emily
DOI: 10.4324/9781135000356-REM625-1
Published: 09/05/2016
Retrieved: 20 July 2024, from
https://www.rem.routledge.com/articles/asturias-miguel-angel-1899-1974
Article
Miguel Ángel Asturias (1899–1974), the recipient of the 1967 Nobel Prize in Literature, is one of the most decorated Guatemalan writers in history. He was born in Guatemala City in 1899 during the dictatorship of Manuel Estrada Cabrera. Under Cabrera, Asturias’ father, a lawyer and judge, was persecuted and forced out of his position, causing the family to flee to the countryside. Living in rural Salamá as a child, Asturias learned many of the myths of the Maya from his caretakers. His time there would greatly influence his views on the social politics of Guatemala as well as his innovations in narrative form. Asturias’ narrative technique is modernist in both its use of anthropology as its methodology and in its experimental form that combines a mythical past with a contemporary, experiential narrative structure.
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https://secondstartotherightbooks.com/book/9781900755191
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en
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Assuming the Light
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Miguel Angel Asturias (1899-1974), the first Spanish-American prose writer to be awarded the Nobel Prize for Literature, is both a pivotal and a representative figure in the development of the twentieth-century Spanish-American novel. Asturias's literary apprenticeship in the Paris of the 1920s and 1930s is arguably the most crucial and least understood period of his career. In forging his definitions of Guatemalan cultural identity and Spanish-American modernity from a French vantage point, Asturias made literary innovations and generated cultural paradoxes which have proved central to subsequent generations of writers. This study of Asturias's early academic writings, journalism and short fiction, and of his first major novel, "El se"or presidente, provides a prehistory of the contemporary Spanish-American novel.
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IndieCommerce
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https://secondstartotherightbooks.com/book/9781900755191
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John Ruskin's Continental Tour 1835: The Written Records and Drawings (Legenda Main)
Hanley, Keith
Hardcover
The Truth of Realism: A Reassessment of the German Novel 1830-1900 (Legenda Main)
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Medea in Performance 1500-2000
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Textual Wanderings: The Theory and Practice of Narrative Digression (Legenda Main)
Atkin, Rhian
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Victor Hugo, Jean-Paul Sartre, and the Liability of Liberty (Legenda Main)
Stephens, Bradley
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Men of Their Words: The Poetics of Masculinity in George Sand's Fiction
Harkness, Nigel
Hardcover
English Responses to French Poetry 1880-1940: Translation and Mediation
Higgins, Jennifer
Hardcover
Pinter and the Object of Desire: An Approach Through the Screenplays
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Paperback
The Epic Rhetoric of Tasso: Theory and Practice
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Taboo: Corporeal Secrets in Nineteenth-Century France (Legenda Main)
Thompson, Hannah
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The Power of Disturbance: Elsa Morante's Aracoeli (Legenda Main)
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Theophile Gautier, Orator to the Artists: Art Journalism of the Second Republic (Legenda Main)
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Consuming Autobiographies: Reading and Writing the Self in Post-War France
Boyle, Claire
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Strands of Utopia: Spaces of Poetic Work in Twentieth Century France
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Theophile Gautier, Orator to the Artists: Art Journalism of the Second Republic (Legenda Main)
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Rainer Maria Rike, 1893-1908: Poetry as Process - A Poetics of Becoming
Hutchinson, Ben
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Machado de Assis's Philosopher or Dog?: From Serial to Book Form
Silva, Suriani Da
Hardcover
Women Genre and Circumstance: Essays in Memory of Elizabeth Fallaize
Holmes, Diana
Hardcover
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https://www.barharborbookshop.com/page/nobel-prize
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https://www.nobelprize.org/prizes/literature/1967/asturias/lecture/
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Miguel Angel Asturias – Nobel Lecture
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1967/asturias/lecture/
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Miguel Angel Asturias
Nobel Lecture
Nobel Lecture, 12th December 1967
(Translation)
The Latin American Novel
Testimony of an Epoch
I would have preferred this meeting to have been called a colloquium instead of lecture – a dialogue of doubts and assertions on the subject that concerns us. Let us start by analysing the antecedents of Latin American literature in general, focusing our attention on those aspects that have most connection with the novel. Let us follow the sources back to the millenarian origins of indigenous literature in its three great moments: Maya, Aztec and Inca.
The following question arises: Was there something resembling the novel among the indigenous peoples? I believe there was. The history of the original cultures of Latin America has more of what we in the western world call the novel than of history. It is necessary to bear in mind that the books of their history – their novels we would now say – were painted by the Aztecs and Mayas and preserved in a figurative form which we still do not understand by the Incas. This assumes the use of pictograms in which the voice of the reader – the indigenous do not distinguish between reading and reciting since for them it is the same thing – recited the text to the listeners in song form.
The reader, reciting stories or ‘great language’, the only person who understood what the pictograms meant, carried out an interpretation, recreating them for the enlightenment of those who listened. Later, these painted stories become fixed in the memory of the listeners and pass in oral form from generation to generation until the alphabet brought by the Spanish fixes them in their native tongues with Latin characters or directly in Spanish. In this way indigenous texts come to our knowledge with very little exposure to European corruption. The reading of these documents is what has allowed us to affirm that, among the native Americans, history has more of the characteristics of the novel than of history. They are accounts in which reality is dissolved in fable, legend, the trappings of beauty and in which the imagination, by dint of describing all the reality that it contains, ends up re-creating a reality that we might call surrealist.
This characteristic of the annulment of reality through imagination and the re-creation of a more transcendental reality is combined with a constant annulment of time and space as well as something more significant: the use and abuse of parallel expressions, i.e. the parallel use of different words to designate the same object, to convey the same idea and express the same feelings. I wish to draw attention to this point – the parallelism in the indigenous texts allows an exercise of nuances that we find hard to appreciate but which undoubtedly permitted a poetic gradation destined to induce certain states of consciousness which were taken to be magic.
If we return to the theme of the origin of a literary genre, similar to the novel, among the pre-Colombian peoples it is necessary to link the birth of this novel form with the epic. The heroic legend, exceeding the possibilities of historical fiction, was sung by the rhapsodists – the great voices of the tribes or ‘cuicanimes’ who toured the cities reciting the texts in order that the beauty of their songs would be disseminated among the peoples like the golden blood of their gods.
These epic songs that are so abundant in pre-Columbian literature, and so little known, possess what we call ‘fictional plot’ and what the Spanish friars and missionaries termed ‘tricks’.
These fictional tales were originally the testimony of past epochs; the memory and fame of high deeds that others on hearing would desire to emulate, this literature of reality and fable is broken in the instant of servitude and remains as one of the many broken vessels of those great civilisations. Other narratives will follow – in this same documentary form – recounting not the evidence of greatness but of misery, not the testimony of liberty but of slavery, no longer the statements of the masters but those of the subjects and a new, emerging American literature attempting to fill the empty silences of an epoch.
However, the literary genres that flourished in the Iberian peninsulas – the realistic novel and the theatre – were not to put down roots here. On the contrary, it is the indigenous effervescence, the sap and the blood, river, sea and mirage that affects the first Spaniard to write the first great American ‘novel’ for the ‘True Story of the Events of the Conquest of New Spain’ written by Bernal Diaz del Castillo deserves to be called no less. Is it not rather bold to describe as a ‘novel’ what that soldier called not history but ‘true history’? But are not novels frequently the true history? I repeat the question: is it really boldness to describe as a novel the work of this illustrious chronicler?
To those who might call me daring in my description I would invite them to enter the cadenced and panting prose of this versatile foot soldier and they will notice how – on entering into it – they gradually forget that what happened was reality and it will seem to them increasingly a work of pure imagination. Indeed, even Bernal himself says no less, next to the very walls of Tenochtitlan: “this seemed to be the work of enchantment that is recounted in the book of Amadis!” But this is the work of a Spaniard – it will be said – although the only thing Spanish about it is its having been written by a ‘peninsular’ resident in Santiago de los Caballeros de Guatemala – where that glorious manuscript is kept – and its having been composed in the old language of Castile although it partakes of that masquerade characteristic of indigenous literature. To Don Marcelino Menendez y Pelayo – this expert in classic Spanish literature – the taste of this prose is strange and the fact that it has been written by a soldier he finds surprising. It escapes this eminent writer that Bernal, at the age of eighty, had not only heard many texts of indigenous literature being recited, being influenced by it, but through osmosis had absorbed America and had already become American.
But there is another more impressive parenthesis. In their last sorrowful cantos the indigenous peoples – now subjugated – call for justice and Bernal Diaz Castillo expresses his deepest feelings in a chronicle which is a howl of protest at the oblivion into which they fell after being “fought and conquered.”
As from this moment, all Latin American literature, in song and novel, not only becomes a testimony for each epoch but also, as stated by the Venezuelan writer Arturo Uslar Pietri, an “instrument of struggle”. All the great literature is one of testimony and vindication, but far from being a cold dossier these are moving pages written by one conscious of his power to impress and convince.
Will the south give us a mestizo? The mestizo par excellence since – in order for nothing to be lacking – he was the first American exile: Inca Garcilaso. This Creole exile follows the indigenous voices already extinguished in his denunciation of the oppressors of Peru. The Inca offers us in his magnificent prose not only the native American – nor only the Spanish – but the mixture materialised in the fusion of the bloods, and in the same demand for life and justice.
To start with nobody discerns the ‘message’ in the prose of Inca. This will be clarified during the struggle for independence. Inca will then appear with the dignity of the Indian that knew how to make fun of the empire of “the two knives” – that is to say civil and ecclesiastical censorship. The Spanish authorities, slow to fathom the message containing so much spirit, imagination and melancholy, wisely order the confiscation of the story of Inca Garcilaso where the Indians have “learned so many dangerous things.”
Not only poetry and works of fiction bear witness. The least expected authors such as Francisco Javier Clavijero, Francisco Javier Alegre, Andres Calvo, Manuel Fabri, Andres de Guevara gave birth to a literature of exiles which is – and will continue to be – a testimony of its epoch.
Even the Guatemalan poet Rafael Landívar has his form of rebellion. His protest is silence – he calls the Spanish ‘Hispani’ without qualifying the adjective. We refer to Landívar because, despite being the least known, he should be considered the standard bearer of American literature as the authentic expression of our lands, our people and landscapes. According to Pedro Henriquez-Urena, “among the poets of the Spanish colonies he is the first master of landscape, the first to break definitively with the conventions of the Renaissance and discover the characteristic features of nature in the New World – its flora and fauna, its countryside and mountains, its lakes and waterfalls. In his descriptions of customs, of the crafts and the games there is an amusing vivacity and – throughout the poem – a deep sympathy and understanding of the survival of the original cultures.”
In 1781 in Modena, Italy, there appeared under the title of ‘Rusticatio Mexicana’ a poetic work of 3,425 Latin hexameters, in 10 cantos, written by Rafael Landívar. One year later in Bologna the second edition appeared. The poet called by Menendez y Pelayo ‘the Virgil of the modern age’ proclaimed to the Europeans the excellence of the land, the life and the peoples of America. He was concerned for the people of the Old World to know that E1 Jorullo, a Mexican volcano, could rival Vesuvius and Etna, that the waterfalls and caves of San Pedro Martir in Guatemala were the equals of the famous fountains of Castalia and Aretusa and referring to the cenzontle – the bird whose song has 400 tones – he elevated it above the realm of the nightingale.
He sings the praises of the countryside, of the gold and silver that was filling the world with valuable coins and the sugar loaves offered at royal tables.
His poem is not short of statistics concerning the riches of America. He cites the droves of cattle, the flocks of sheep, the herds of goats and pigs, the sources of medicinal waters, the popular games – some unknown in Europe – and he does not hide the glory of the cocoa and chocolate of Guatemala. But there is something that we should be aware of in the song of Landivar; namely his love of the indigenous. The Indian, for Landivar, is the race that succeeds in everything, he describes the marvels of the floating gardens created by the Indians, he holds them up as examples of charm and skill without forgetting their great sufferings. In this way he imparts poetic substance – in naturalistic poetry far from symbolism – to a fact that has always been denied: the superiority of the American Indian as farmer, as craftsman and worker.
To the image of the bad Indian, lazy and immoral that was so widely propagated in Europe and accepted in America by those who exploit it Landívar opposes the picture of the Indian on whose shoulders has weighed – and continues to weigh – the burden of labour in America. And he does not do it by simply stating it – in which case we would have the right or not of believing it. In his poem we see the Indian on board his charming canoe, transporting his goods or travelling and we admire him extracting the purple and scarlet, laying out the snowy worms that produce the silk, holding on stubbornly to the rocks in order to remove the beautiful shellfish, patiently and doggedly ploughing, cultivating the indigo plant, extracting the silver from his native mines, exhausting the golden veins… The Rusticatio of Landívar confirms what we have said of the great American literature – it cannot accept a passive role while on our soil a famished people live in these abundant lands. In its content it is a form of novel in verse.
Fifty years later, Andres Bello was to renovate the American adventure in his famous ‘Silva’, an immortal and perfect work in which the nature of the New World appears again with maize the leader – as haughty chief of the corn tribe – the cacao in ‘coral urns’, the coffee plants, the banana, the tropics in all their vegetable and animal power, contrasting the impoverished inhabitant with this grandiose vision ‘of the rich soil.’
Bello recalls Inca Garcilaso in his role as an exile, he is of the American lineage of Landívar, both represent the brilliant start of the great American odyssey in world literature. As from this moment the image of nature in the New World will awake in Europe an interest but it will never attain the incandescent fidelity that is achieved in the work of Landívar and Bello. A distorted vision of the marvels is offered us by Chateaubriand in ‘Atala’ and ‘Les Natchez’.
For the Europeans nature is a background without the gravitational force achieved by Creole romanticism. The romantics give nature a permanent presence in the creations of poets and novelists of the epoch. This is exemplified by José Maria de Heredia singing of the Niagara Falls and Estaban Echeverria describing the desert in ‘La Cautiva’ to mention just two.
Latin American romanticism was not only a literary school but a patriotic flag. Poets, historians and novelists divide their days and nights between political activities and dreaming their creations. Never has it been more beautiful to be a poet in America! Amongst the poets influenced by the Patria converted in Muse are José Mármol, author of one of the most widely read novels in Latin America – ‘Amalia’. The pages of this book have been turned by our febrile and sweaty fingers when we suffered in our very bones the dictatorships that have plagued Central America. The critics, when referring to the novel of Mármol, point out inconsistencies and carelessness without realising that a work of this type is written with a madly beating heart – pulsations that leave in the sentence, in the paragraph, on the page that abnormal heartbeat reflecting the distortion of the life force that troubled the entire country. We are in the presence of one of the most passionate examples of the American novel. Despite the years ‘Amelia’ – the imprecations of José, Mármol – continue to move readers to such an extent as to represent an act of faith.
It is at this very moment that the voice of Sarmiento is heard posing his famous dilemma at the threshold of the century: ‘civilisation or barbarism’. Indeed, Sarmiento himself will be startled when he becomes aware that ‘Facundo’ turns his arms against him and against everyone, declaring himself to be the authentic representative of Creole America, of the America that refuses to die and attempts to break – with a breast already hardened – the antithetical scheme of civilisation and barbarism in order to find between these two extremes the point where the American peoples are able to find their authentic personality with their own essential values.
In the middle of the last century another romantic, no less passionate, appears in Guatemala: José Batres Montúfar. In the midst of tales of festive character the reader feels that he should forget the fiesta to listen to the poetry. The immortal José Batres Montúfar, with abundant charm tinged with bitterness, was able to get to the core of issues that already – in the middle of the past century – were highly charged.
Another voice was to ring out from north to south, that of José Martí. His presence was felt, whether as an exile or in his beloved Cuba, the fre of his speech as poet or journalist being combined with the example of his sacrifice.
The 20th century is full of poets, poets that have nothing more to say with very few exceptions. Among the latter stand out the immortal Rubén Darío and Juan Ramón Molina from Honduras. The poets flee from reality, maybe because this is one of the ways of being a poet. But there is nothing living in much of their work which instead tend towards garrulity.
They are ignorant of the clear lesson of the native rhapsodists, they are forgetful of the colonial craftsmen of our great literature, satisfied with the bloodless imitation of the poetry of other latitudes and ridicule those who sang the bold gestures of the liberation struggle, considering them dazzled by a local patriotism.
It is only when the First World War is passed that a handful of men – men and artists – embark on the reconquest of their own tradition. In their encounter with the indigenous peoples they drop anchor in their Spanish home port and return with the message that they have to deliver to the future.
Latin American literature will be reborn under other signs – no longer that of verse. Now the prose is tactile, plural and irreverent in its attitude to conventions – to serve the purpose of this new crusade whose first move was to plunge into reality not so as to objectify but rather to penetrate the facts in order to identify fully with the problems of humanity. Nothing human – nothing which is real – will be foreign to this literature inspired by contact with America. And this is the case of the Latin American novel. Nobody doubts that the Latin American novel is at the leading edge of its genre in the world. It is cultivated in all our countries, by writers of different tendencies, which means that in the novel everything is forged from American material – the human witness of our historic moment.
We, the Latin American novelists of today, working within the tradition of engagement with our peoples which has enabled our great literature to develop – our poetry of substance – also have to reclaim lands for our dispossessed, mines for our exploited workers, to raise demands in favour of the masses who perish in the plantations, who are scorched by the sun in the banana fields, who turn into human bagasse in the sugar refineries. It is for this reason that – for me – the authentic Latin American novel is the call for all these things, it is the cry that echoes down the centuries and is pronounced in thousands of pages. A novel that is genuinely ours; determined and loyal – in its pages – to the cause of the human spirit, to the fists of our workers, to the sweat of our rural peasants, to the pain for our undernourished children; calling for the blood and the sap of our vast lands to run once more towards the seas to enrich our burgeoning new cities.
This novel shares – consciously or unconsciously – the characteristics of the indigenous texts; their freshness and power, the numismatic anguish in the eyes of the Creoles who awaited the dawn in the colonial night, more luminous however than this night that threatens us now. Above all, it is the affrmation of the optimism of those writers that defied the Inquisition, opening a breach in the conscience of the people for the march of the Liberators.
The Latin American novel, our novel, cannot betray the great spirit that has shaped – and continues to shape – all our great literature. If you write novels merely to entertain – then burn them! This might be the message delivered with evangelical fervour since if you do not burn them they will anyway be erased from the memory of the people where a poet or novelist should aspire to remain. Just consider how many writers there have been who – down the ages – have written novels to entertain! And who remembers them now? On the other hand, how easy it is to repeat the names of those amongst us who have written to bear witness.
To bear witness. The novelist bears witness like the apostle. Like Paul trying to escape, the writer is confronted with the pathetic reality of the world that surrounds him – the stark reality of our countries that overwhelms and blinds us and, throwing us to our knees, forces us to shout out: WHY DO YOU PERSECUTE ME? Yes, we are persecuted by this reality that we cannot deny, which is lived in the flesh by the people of the Mexican revolution, embodied in persons such as Mariano Azuela, Agustin Yanez and Juan Rulfo whose convictions are as sharp as a knife; those who share with Jorge Icaza, Ciro Alegría, Jesús Lara the shout of protest against the exploitation and abandonment of the Indian; those who with Romulo Gallegos in ‘Done Bábara’ create for us our Prometheus. Here is Horacio Quiroga who frees us from the nightmare of the tropics, a nightmare that is as peculiar to him as his style is American. ‘Los ros profundos’ of José María Arguedas, the ‘Rio oscuro’ of the Argentinian Alfredo Varela, ‘Hijo de hombre’ of the Paraguayan Roa Bastos and ‘La ciudad y los perros’ of the Peruvian Vargas Llosa make us see how the life-blood of the working people is drained in our lands.
Mancisidor takes us to the oil fields to which are drawn – leaving their homes – the inhabitants of ‘Cases muertas’ of Miguel Otero Silva… David Vinas confronts us with the tragic Patagonia, Enrique Wernicke sweeps us along with the waters that overwhelm whole communities while Verbitsky and María de Jesús lead us to the miserable shanty towns, the Dantesque and subhuman quarters of our great cities…
Teitelboim in ‘E1 hijo del salitre’ tells us of the gruelling work in the saltpetre mines while Nicomedes Guzman makes us share in the lives of the children in the Chilean working class districts. We feel the countryside of E1 Salvador in ‘Jaragua’ of Napoleón Rodríguez Ruiz and our small villages in ‘Cenizas del Izalco’ of Flakol and Clarivel Alegria. We cannot think of the pampas without speaking of ‘Don Segundo Sombra’ by Guiraldes nor speak of the jungle without ‘La voragine’ of Eustasio Rivera, nor of the Negroes: without Jorge Amado, nor of the Brazilian plains without the ‘Gran Sertao’ of Guimaraes Rosa, nor of the plains of Venezuela without Ramón Díaz Sánchez.
Our books do not search for a sensationalist or horrifying effect in order to secure a place for us in the republic of letters. We are human beings linked by blood, geography and life to those hundreds, thousands, millions of Latin Americans that suffer misery in our opulent and rich American continent. Our novels attempt to mobilise across the world the moral forces that have to help us defend those people. The mestizo process was already advanced in our literature and in rediscovering America it lent a human dimension to the grandiose nature of the continent. But this is a nature neither for the gods as in the texts of the Indians, nor a nature for heroes as in the writings of the romantics, but a nature for men and women in which the human problems will be addressed again with vigour and audacity.
As true Latin Americans the beauty of expression excites us and – for this reason – each one of our novels is a verbal feat. Alchemy is at work. We know it. It is no easy task to understand in the executed work all the effort and determination invested in the materials used – the words.
Yes, I say words – but by what laws and rules they have been transformed! They have been set as the pulse of worlds in formation. They ring like wood, like metals. This is onomatopoeia. In the adventure of our language the first aspect that demands attention is onomatopoeia. How many echoes – composed or disintegrated – of our landscape, our nature are to be found in our words, our sentences. The novelist embarks on a verbal adventure, an instinctive use of words. One is guided along by sounds. One listens, listens to the characters.
Our best novels do not seem to have been written but spoken. There is verbal dynamics in the poetry enclosed in the very word itself and that is revealed first as sound and afterwards as concept.
This is why the great Spanish American novels are vibrantly musical in the convulsion of the birth of all the things that are born with them.
The adventure continues in the confluence of the languages. Amongst the languages spoken by the people, in which the Indian languages are represented, there is an admixture of the European and Oriental languages brought by the immigrants to America.
Another language is going to rain its sparkle over sounds and words. The language of images. Our novels seem to be written not only with words but with images. Quite a few people when reading our novels see them cinematically. And this is not because they pursue a dramatic statement of independence but because our novelists are engaged in universalising the voice of their peoples with a language rich in sounds, rich in fable and rich in images.
This is not a language artificially created to provide scope for the play of the imagination or so-called poetic prose; it is a vivid language that preserves in its popular speech all the lyricism, the imagination, the grace, the high-spiritidness that characterise the language of the Latin American novel.
The poetic language which nourishes our novelistic literature is more or less its breath of life. Novels with lungs of poetry, lungs of foliage, lungs of rich vegetation. I believe that what most attracts non-American readers is what our novels have achieved by means of a colourful, brilliant language without falling into the merely picturesque, the spell of onomatopoeia cast by representing the music of the countryside and sometimes the sounds of the indigenous languages, the ancestral smack of those languages that flourish unconsciously in the prose that is used. There is also the importance of the word as absolute entity, as symbol. Our prose is distinguished from Castilian syntax because the word – in our novels – has a value of its own, just as it had in the indigenous languages. Word, concept, sound; a rich fascinating transposition. Nobody can understand our literature, our poetry if the power of enchantment is removed from the word.
Word and language enable the reader to participate in the life of our novelistic creations. Unsettling, disturbing, forcing the attention of the reader who – forgetting his daily life – will enter into the situations and personalities of a novel tradition that retains intact its humanistic values. Nothing is used to detract from mankind but rather to perfect it and this is perhaps what wins over and unsettles the reader, that which transforms our novel into a vehicle of ideas, an interpreter of peoples using as instrument a language with a literary dimension, with imponderable magical value and profound human projection.
Translated by The Swedish Trade Council Language Services.
From Les Prix Nobel en 1967, Editor Ragnar Granit, [Nobel Foundation], Stockholm, 1968
Copyright © The Nobel Foundation 1967
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1967/asturias/biographical/
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Miguel Angel Asturias
Biographical
Miguel Angel Asturias (1899-1974) was born in Guatemala and spent his childhood and adolescence in his native country. He studied for his baccalaureate at the state high school and later took a law degree at the University of San Carlos. His thesis on “The Social Problem of the Indian” was published in 1923.
After he finished his law studies, he founded with fellow students the Popular University of Guatemala, whose aim was to offer courses to those who could not afford to attend the national university. In 1923 he left for Europe, intending to study political economy in England. He spent a few months in London and then went to Paris, where he was to stay for ten years. At the Sorbonne he attended the lectures on the religions of the Mayas by Professor Georges Raynaud, whose disciple he became. Also, as correspondent for several important Latin American newspapers, he travelled in all the Western European countries, in the Middle East, in Greece, and in Egypt.
In 1928 Asturias returned for a short time to Guatemala, where he lectured at the Popular University. These lecture were collected in a volume entitled La arquitectura de la vida nueva (Architecture of the New Life), 1928. He then went back to Paris, where he finished his Leyendas de Guatemala (Legends of Guatemala), 1930. Published in Madrid, the book was translated into French by Francis de Miomandre, who sent his translation to Paul Valéry. The French poet was greatly impressed, and his letter to Miomandre was used as the preface to the 1931 edition published in the Cahiers du Sud series. The same year, Leyendas de Guatemala received the Silla Monsegur Prize, a reward for the best Spanish-American book published in France.
During his stay in Paris from 1923 to 1933, Asturias wrote his novel El Señor Presidente (The President), which slashed at the social evil and malignant corruption to which an insensitive dictator dooms his people. Because of its political implications Asturias was unable to bring the book with him when, in 1933, he returned to Guatemala, which at the time was ruled by the dictator Jorge Ubico. The original version was to remain unpublished for thirteen years. The fall of Ubico’s regime in 1944 brought to the presidency Professor Juan José Arévalo, who immediately appointed Asturias cultural attaché to the Guatemalan Embassy in Mexico, where the first edition of El Señor Presidente appeared in 1946.
In late 1947, Asturias went to Argentina as cultural attaché to the Guatemalan Embassy and, two years later, obtained a ministerial post. While in Buenos Aires, he published Sien de alondra (Temple of the Lark), 1949, an anthology of his poems written between 1918 and 1948. In 1948 he returned to Guatemala for a few months, during which time he wrote his novel Viento fuerte (Strong Wind), 1950, an indictment of the effect of North American imperialism on the economic realities of his country. That same year, the second edition of El Señor Presidente was published in Buenos Aires.
When the government of President Jacobo Arbenz Guzman fell in 1954, Asturias went into exile in Argentina, his wife’s native country, where he remained until 1962. A year later, the Argentine publisher Losada brought out his novel Mulata de tal (Mulata). This story, a surrealistic blend of Indian legends, tells of a peasant whose greed and lust consign him to a dark belief in material power from which, Asturias warns us, there is only one hope for salvation: universal love.
In 1966 Asturias was awarded the Lenin Peace Prize. In the same year, he was appointed the Guatemalan ambassador to France by President Julio Mendez Montenegro.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.
Miguel Asturias died on June 9, 1974.
Copyright © The Nobel Foundation 1967
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Asturias began and ended his literary life in Paris, as an exile. And it did not help his standing in the West that he was awarded the Lenin Peace Prize the year prior to his Nobel. Another liability was Asturias' elder son, Rodrigo, who founded one of Guatemala's chief Marxist guerrilla groups, the Revolutionary Organization of People in Arms (ORPA). Rodrigo borrowed the nom de guerre Gaspar Ilom from a character in one of his father's novels.
Maya Realism
SO WHY should we pay more attention to a Latin protest writer of lesser genius whose works translate poorly into English? Above all, to give Asturias his due as a literary pioneer. It was in his chef d'oeuvre, El Señor Presidente (1946), a chilling portrait of an arche- typal Third World dictator, that Asturias first used the surrealist techniques of French poets André Breton and Tristan Tzara to create the stunning literary effects vulgarly known as "magic realism."
El Señor Presidente, we learn in the novel Asturias began in the 1920s under the Estrada Cabrera dictatorship, was so twisted by vengefulness and paranoid distrust that his enslavement of an entire nation did not begin to assuage his bloodlust. To him, his subjects were "parrot's feces. It neither smells nor stinks."
In this phantasmagoric world of midnight knocks on the door, humans are so frozen with fear they become puppets, and only deaf-mute beggars, trees, dogs and china cups dare sound the alarm. In El Señor Presidente's hermetic domain of casual torture, institutional deception and terror, "bullets don't know when they pass through a man's body. They think flesh is warm, sweet air, a little fat."
What Asturias called "magic surrealism" began not with García Márquez or Julio Cortázar but with his two unquestioned masterpieces, El Señor Presidente and Men of Maize. (Asturias' co-progenitor of magic realism was his Cuban contemporary Alejo Carpentier, who used surrealist techniques and Creole imagery to good effect in his two Caribbean novels, The Realm of This World and Steps in the Jungle.)
What lifts Men of Maize, a finely woven fable of Mayan retribution against domestic and foreign exploiters and their lackeys, above the ill-fated United Fruit Trilogy and his other indigenist novels is Asturias' brilliant adaptation of the classic Quiché-Maya Popol Vuh, or Book of Council, rediscovered in the l8th century by a Spanish missionary. The story of the three creations of man by the gods and the adventures of the twins Hun-Hunapu and Ixbalanqué in the nether world of Xibalbá, where they conquer the Lords of Death, is replete with the grotesque narrative twists, the shadings of dark and light, and the metamorphoses that are the essence of what might be called "Maya realism."
Asturias, who attempted his own translation of the Popol Vuh, merged its rich, dreamlike imagery with European surrealist devices in composing Men of Maize. There is a familiar dark magic in the death chosen by the Maya sorcerers for Colonel Chalo Godoy, who conspired with corrupt farmers to destroy the guerrilla warrior Gaspar Ilom:
Hands of darkness brandishing daggers will force him to suicide. But it will be only his shadow, a skin of shadow among the yuccas. The bullet will burst in his temples, he will fall to the ground, but other dark hands will lift his body, they will mount him on his horse, and will begin to shrink him horse and all until he is the size of sugar candy.
And there are also resonances of the Popol Vuh in Maria Tecún's aimless wanderings after she is bitten by a spider, and in Don Nicho the postman's journey to Xibalbá to meet his coyote nahual. The lesson he learns is the same taught by the authors of Popol Vuh:
Those who thus confront their nahual, outside themselves, are invincible in war and in love ... they own all the riches they desire, they make the snakes respect them, do not succumb to small pox, and if they die it is said their bones are made of firestone.
Another excellent reason for reading Asturias is that he was a true visionary who prophesied in his books the resurgence of Maya communities whose voices are being heard once again. Thirty years after his Nobel, Asturias' The Mirror of Lida Sal: Stories Based on Mayan Myths & Guatemalan Legends, his 1967 collection of Maya myths (the first, Leyendas de Guatemala, from 1930, has not been translated), is finally appearing in an English translation.
After five centuries of silent witness, Maya priests and sorcerers, and powerful new leaders like Nobel PeacePrize laureate Rigoberta Menchú, are calling on nature's hidden powers--on the sacred essence of maize and the ceiba tree, with its roots in the underworld and its upper branches in the heavens--to resurrect their ancestral gods and reclaim their place under the Maya sun.
Asturias died in 1974. Had he lived another two decades, he would have been welcomed back to Guatemala with open arms. And he would have witnessed the historic peace accord ending a 37-year-long war in which his son Rodrigo--influenced by his father's writings--was a key protagonist.
But it is the resurgence of the Mayas and their gods, foreshadowed in all his books, that would have made Asturias proud--and crowned his life with a redemption larger and more enduring than any Nobel Prize.
The Mirror of Lida Sal, translated by Gilbert Alter-Gilbert; Latin American Literary Review Press; $14.95, paperback.
Victor Perera is the author of Unfinished Conquest: The Guatemalan Tragedy (California) and The Cross and the Pear Tree: A Sephardic Journey (California). He is currently working on a book on whales for Alfred A. Knopf.
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https://www.wikiwand.com/en/1967_Nobel_Prize_in_Literature
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1967 Nobel Prize in Literature
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The 1967 Nobel Prize in Literature was awarded to the Guatemalan writer Miguel Ángel Asturias (1899–1974) "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America." He is the first Guatemalan and the second Latin American author to receive the prize after the Chilean poet Gabriela Mistral won in 1945.
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Wikiwand
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https://www.wikiwand.com/en/1967_Nobel_Prize_in_Literature
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The 1967 Nobel Prize in Literature was awarded to the Guatemalan writer Miguel Ángel Asturias (1899–1974) "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America."[1] He is the first Guatemalan and the second Latin American author to receive the prize after the Chilean poet Gabriela Mistral won in 1945.[2]
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FactBench
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https://secondstartotherightbooks.com/book/9781900755191
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en
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Assuming the Light
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Miguel Angel Asturias (1899-1974), the first Spanish-American prose writer to be awarded the Nobel Prize for Literature, is both a pivotal and a representative figure in the development of the twentieth-century Spanish-American novel. Asturias's literary apprenticeship in the Paris of the 1920s and 1930s is arguably the most crucial and least understood period of his career. In forging his definitions of Guatemalan cultural identity and Spanish-American modernity from a French vantage point, Asturias made literary innovations and generated cultural paradoxes which have proved central to subsequent generations of writers. This study of Asturias's early academic writings, journalism and short fiction, and of his first major novel, "El se"or presidente, provides a prehistory of the contemporary Spanish-American novel.
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John Ruskin's Continental Tour 1835: The Written Records and Drawings (Legenda Main)
Hanley, Keith
Hardcover
The Truth of Realism: A Reassessment of the German Novel 1830-1900 (Legenda Main)
Walker, John
Paperback
Medea in Performance 1500-2000
Hall, Edith
Paperback
Textual Wanderings: The Theory and Practice of Narrative Digression (Legenda Main)
Atkin, Rhian
Paperback
Victor Hugo, Jean-Paul Sartre, and the Liability of Liberty (Legenda Main)
Stephens, Bradley
Paperback
Men of Their Words: The Poetics of Masculinity in George Sand's Fiction
Harkness, Nigel
Hardcover
English Responses to French Poetry 1880-1940: Translation and Mediation
Higgins, Jennifer
Hardcover
Pinter and the Object of Desire: An Approach Through the Screenplays
Renton, Linda
Paperback
The Epic Rhetoric of Tasso: Theory and Practice
Gunsberg, Maggie
Paperback
Taboo: Corporeal Secrets in Nineteenth-Century France (Legenda Main)
Thompson, Hannah
Paperback
The Power of Disturbance: Elsa Morante's Aracoeli (Legenda Main)
Fortuna, Sara
Paperback
Theophile Gautier, Orator to the Artists: Art Journalism of the Second Republic (Legenda Main)
Kearns, James
Paperback
Consuming Autobiographies: Reading and Writing the Self in Post-War France
Boyle, Claire
Hardcover
Strands of Utopia: Spaces of Poetic Work in Twentieth Century France
Kelly, Michael G.
Hardcover
Theophile Gautier, Orator to the Artists: Art Journalism of the Second Republic (Legenda Main)
Kearns, James
Hardcover
Rainer Maria Rike, 1893-1908: Poetry as Process - A Poetics of Becoming
Hutchinson, Ben
Hardcover
Machado de Assis's Philosopher or Dog?: From Serial to Book Form
Silva, Suriani Da
Hardcover
Women Genre and Circumstance: Essays in Memory of Elizabeth Fallaize
Holmes, Diana
Hardcover
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1
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https://www.goodreads.com/book/show/73723.The_President
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en
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The President
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Read 538 reviews from the world’s largest community
for readers. Guatemalan diplomat and writer Miguel Angel Asturias (1899–1974) began this award-winning …
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Goodreads
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https://www.goodreads.com/book/show/73723.The_President
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November 24, 2021
El Señor Presidente = Mister President = The President, Miguel Ángel Asturias
Mister President is a 1946 novel written in Spanish, by Nobel Prize-winning Guatemalan writer and diplomat: Miguel Ángel Asturias (1899–1974).
A landmark text in Latin American literature, Mister President explores the nature of political dictatorship and its effects on society.
Asturias makes early use of a literary technique now known as magic realism. One of the most notable works of the dictator novel genre, Mister President developed from an earlier Asturias short story, written to protest social injustice in the aftermath of a devastating earthquake in the author's home town.
تاریخ نخستین خوانش: روز نهم ماه نوامبر سال1972میلادی و بار دیگر سال1999میلادی
عنوان: آقای رئیس جمهور؛ میگل آنجل آستوریاس؛ مترجم: زهرای خانلری (کیا)؛ تهران، خوارزمی، سال1348، در408ص، موضوع داستانهای نویسندگان گواتمالایی به زبان اسپانیا - سده20م
داستان «آقای رئیس جمهور»، داستان «استرادا گابررا»، دیکتاتور خشن «گواتمالا»، در نخستبن سالهای سده ی بیستم میلادی است؛ رئیس جمهوری که خود را خدای مردمان آن کشور میدانستند، و بجای مردمان کشور خود، و برای آنها تصمیم گیری نیز میکردند؛ حکومتی که به برهان نارضایتی و شجاعت «افراد ویژه»، به آنها انواع و اقسام جرمها را، نسبت میدهد؛ محکومین، و شاهدهای رویدادهای گوناگون را در زندان، به زور شکنجه، مجبور به اعترافات دلخواه خویش میکند، و ....؛ در این داستانِ سیاست و اختناق، خوانشگر شاهد یک عشق، و سرانجام آن، در چنان حکومتی نیز هست؛ آقای «استوریاس» داستان را با شیوه های خیال آمیز، و شاعرانه با روایتی بسیار زیبا بازگو کرده اند
تاریخ بهنگام رسانی 25/09/1399هجری خورشیدی؛ 02/09/1400هجری خورشیدی؛ ا. شربیانی
April 17, 2020
I read the English translation of this Spanish language novel, which was published in 1946. I broke off reading it about halfway through to better understand the background, and it seems the title character is based on the real-life Manuel Estrada, President of Guatemala from 1898 to 1920. I’d not heard of him before. The story is set during the 1910s.
I’ve read a number of novels by Latin American authors where the reader is taken into a sort of nightmare world, and this is another to add to that list. It seems to me the author wanted to illustrate the effects of dictatorship on society, especially the effects produced by the sort of dictator with which Latin America has historically been so cursed. In this novel the merest chance can lead to someone being tortured or executed, and the society is a sort of kleptocracy where those in power extort money from everyone else. Cruelty and fear are the dominant themes, and people are cruel to one another in the most casual fashion. Others are driven by fear to disown friends and relatives who have been arrested, terrified they will be tarred by association. There are one or two characters who behave with decency, but they are the exceptions. Many of the male characters spend their time getting blindingly drunk. Apparently alcoholism really was a major problem in Guatemala at this time, but I get the feeling the author’s message is that the rottenness of the society he describes was something that originated at the top and spread downwards.
Despite the book’s title, the President is not the main character, that role falling to someone with the curious moniker of “Miguel Angel-Face”, an advisor to the President. Several times his name is linked with the phrase “He was as beautiful and as wicked as Satan”. I found this a curious expression and wondered whether there was something to it that was lost either in translation or across the gaps of time and place. Despite the comparison with old Beelzebub, Miguel is one of the book’s more sympathetic characters. He falls in love with the daughter of one of the President’s political opponents and becomes a better person as a result.
“Magic realism” is another well-known feature of Latin American literature and this novel was one of the early examples of that genre. It isn’t always a style that I appreciate but it’s comparatively restrained in this novel. Most of the dream like sequences are identified as dreams. There are a few mystical elements based around aspects of Catholicism.
Is it hope or depravity that triumphs? It’s a question I would enjoy discussing, and I rate a novel a success when it leaves me with the desire to discuss it with others. However, to take that discussion further in this review would be to include spoilers.
May 13, 2023
С самых первых строк, тех самых ономатопеических, стало ясно, что это великий мастер слова.
"Бьем-бьем-бьем! бьем-лбом, бьем-лбом! – били-били-лбом! – белым лбом… бьем… бьем!… – били колокола, ранили слух, луч сквозь мглу, мгла сквозь свет. – Били-бьем! Би-ли-бьем! Бьем-бьем… белым-белым лбом… бьем! бьем! бьем! "
Но Астуриас не только мастер слова, он мастер и подачи идей, и смешения жанров, стилей и техник. Он виртуозно смешивает исторический роман с магическим реализмом, сюрреализм с потоком сознания, роман о диктаторе с мифологией коренных народов Гватемалы. Его язык образен, ярок и, одновременно, поэтичен и страшен в обличительной силе.
Центральной темой его романа является диктатор и люди, живущие при диктатуре. Он не называет ни страну, ни имени диктатора, и из-за каждый диктатор прошлого или современности чем-то похож на Сеньора Президента.
Этот человек, пришедший к власти, больше всего на свете боится. Боится потерять власть, боится, как близкое окружение, генералов и полковников, так и свой народ. Этот страх поощряет доносительство. Доносят все и на всех тоже из страха. Сеньор Президент может бороться со своим страхом только запугивая и внушая страх всем - и близкому окружению, своим фаворитам, подчинённым, так и простым людям. Этого можно достичь только необузданной жестокостью, изощрёнными, извращёнными пытками духа и тела. Мало просто убить, нужно внушить ужас, нужно истязать. Мало просто посадить в тюрьму, нужно заставить страдать. Вот эту природу страха, присутствующей в любой диктатуре, Астуриас великолепно изобразил.
Страх порождает и культ личности. Сеньору Президенту важно каждый день слышать слова восхваления из страха потерять власть. Его окружению самая неприкрытая лесть позволяет выслужиться, а народу, славословящему диктатору - выжить, подтвердить свою благонадёжность.
Роман полон сновидений или просто видений, как у Кара де Анхеля во время аудиенции у Сеньора Президента, когда перед его мысленным образом возник образ Тоиля - Властителя Огня - требующего человеческих жертв. Эти сновидения и просто видения создают образы, которые играют важную роль в создании параллельного, мистического восприятия сюжетных деталей.
В романе Сеньор Президент убивает не только оружием или нечеловеческими условиями, например лишением воды, но и словом, клеветой или обманом. Отец и муж Камилы умерли от навета, так сильно слово.
Любовь способна изменить человека, считает автор. Но мне кажется, что Мигель, с одной стороны, почувствовал свою неприязнь к патрону и осознал его ничтожность не под воздействием любви. Он продолжал и был готов продолжать свою работу, подавляя свои чувства из элементарного самосохранения и желания благополучия. Но Сеньор Президент, страдая параноидальным страхом никому не верит и часто меняет фаворитов.
На мой взгляд, многие второстепенные персонажи вышли даже сильнее, цельнее главных героев. Таковы образы Пелеле, Федины, кукольника.
April 9, 2012
One of the finest novels you will ever read. It will tear your heart out and all the while make you feel as if something magical is happening. Asturias is a deft weaver of stories, not to mention a grandfather of the magical realism genre in literature. He wrote all his books in Spanish, of course, and I, of course, had to read the translated verions, which must suffer from the kind of loss all translations suffer, and yet, I cannot fathom how this novel could be any better than it is. The essence of Asturias' talent does not get lost in translation here. It may take a little work to get a copy of this...it may cost a little extra money...it's so much more than merely worth it. It's a tale you will never forget.
December 31, 2008
I just finished this novel and it was an exhausting and depressing read. Don't get me wrong; it is a fantastic novel and well worth the time and emotional investment. Asturias writes in an almost poetic prose that really draws you in. His characters are engaging and his settings are such that I was able to really visualize his scenes. The story itself is sad and his words carry you along like a silent observer of some hateful crime that you are unable to prevent but of which you are almost omniscient. It is really frustrating and I found myself wanting to yell out to the characters to "STOP!" several times. And of his characters, Asturias brings seemingly insignificant characters from early chapters back as more major players throughout the story, so if you plan to read this pay attention to every character.
I highly recommend this book, especially to those who enjoy reading works of historical fiction.
October 29, 2013
قرأت هذا الكتاب أثناء وجودي في السجن عام 1991، وكان صادماً بعمقه وتعريته للاستبداد وما يفعله بالبشر، الجميل في الكتاب هو تجربة الانشقاق وتحمل تبعات اتخاذ السبيل الصحيح مهما كانت مؤلمة ومفجعة.
March 14, 2018
Miguel Ángel Asturias's El Señor Presidente is the ultimate novel about Latin American political dictatorships -- and it is also the earliest. It was written in 1933, but for various reasons not published until 1946. It is set during the presidency of Manuel Estrada Cabrera, which lasted from 1898-1920. Although the president is never named, it is set during the First World War, when Estrada Cabrera was in office.
Early in the novel, he president decides to blame General Canales for the death of Colonel Sonriente, one of the leader's favorite hatchet men. (He was actually killed by a loony whom he was teasing.) In the course of executing Estrada's orders, Miguel Angel Face (is it significant that the character has 2/3 of the author's name?) kidnaps the General's daughter and hauls her to a bar across the street. In the process, he falls in love with her and marries her.
This does not sit well with the president: marrying his avowed enemy. The tone of his presidency is set by this comment, which the Judge Advocate makes to one of his servants:
When will you understand that you mustn't encourage people to hope? In my house the first thing everyone, down to the cat, has to learn is that there are never grounds for hope of any description for anyone. It's only possible to go on holding a position like mine if you obey orders; the President's rule of conduct is never to give grounds for hope, and everyone must be kicked and beaten until they realise the fact. When this lady comes back you must return her her letter, neatly folded, and tell her there is no way of finding out where her husband is buried.
Interestingly, Estrada Cabrera was forced out of office after he was unable to lead the country after a series of devastating earthquakes in 1917-1918.
Asturias went on to win the Nobel Prize for Literature in 1967. He has written a number of other novels, which are also excellent, especially Men and Maize and Mulata as well as a trilogy excoriating the United Fruit Company's treatment of the campesinos who worked for it.
October 10, 2018
reaffirms that my sweet spot for literature seems to be the 20s and 30s. Some real gut-punches of brutality, and just exceptionally well written and structured.
elements of surrealism and magical realism, as well as some pure documentary realism, all beautifully mixed together.
in the age of Trump, it is also perhaps useful to engage with a text like this. Power and brutality and selfishness abound....
June 20, 2020
'The President' is the depiction of life under the rule of a cruel and capricious dictator in a nameless South American country. There is an almost acrid atmosphere to the book, as Asturias lures you in with the lurid lives of the characters, from the Machiavellian, but ultimately tragic Angel Face, to the innocent Camilla who is caught up his web of deceit, to the dictator himself, a man consumed with paranoia and hatred.
The nightmarish tone of the novel is set in the opening chapter, which depicts a scene in which various tramps congregate in a church, one of whom ends up murdering a general and, thus setting in motion the events which take place during the book. This nightmarish atmosphere is reinforced throughout the book; from frequent description to the orangeade sky, to the constant stream of betrayals which the characters subject each other too, the people who populate the story are not so much humans as they are puppets dancing on the strings of the all-powerful dictator.
Not only is 'The President' a powerful and prescient depiction of life under a dictator, it is also an exploration of the ceaseless cruelty created by any tyrannically government and the meaningless sense of violence it perpetuates.
July 3, 2018
Bu kitabı ikinci okuyuşum, ilk kez 1971 yılında okumuştum. Siyasi mesajından çok etkilenmiştim, o dönem politik bilinçlenme için önerilen kült kitaplardan biriydi. Yeniden okuduğumda o zaman çok farklı bir kitabı okumuştum herhalde diye düşündüm. Bu kitap ciddi bir edebi eser çünkü. Gerçi abartma, dramatize etme, gerçekçi olmayacak kurgulamaları olsa da, ideolojik bir kitaptan çok edebi yönü olan bir kitap buldum.
Yazar bu kitabı Guatemala’da 1898 ile 1920 yılları arasında ülkeyi diktatörlükle yöneten, hile ile seçim kazanan ve muhaliflerine karşı çok acımasız olan Başkan Manuel Estrada Cabrera’yı yermek için yazmış. Gerçi yıllar farketmiyor, genelde diktatörlerin karşı düşünceye karşı uyguladığı yöntemler üç aşağı beş yukarı aynı.
Bu okuyuşumda kitap beni politik olarak nedense etkilemedi, kitapta yazılanlara karşı duyarsızlaşmak ya da kanıksamak söz konusu olamayacağına göre kitabın okunuş yaşı, zamanı ve o zamanki ruh durumunun ne kadar etkili olduğunu bir kez daha anladım. Okumanızı öneririm, zamanıdır :)
January 11, 2020
It's clear to see how this powerful, incisive gem of a political satire earned Asturias the Nobel Prize for Literature. What's less clear is how it can have fallen into moderate obscurity since then. It remains relevant today and is quite vivid in this excellent translation by Frances Partridge, whose talents earned her the respect of the Bloomsbury Group.
4.5 stars
February 13, 2014
إذا كان الكتاب الروس قد خرجوا من معطف جوجول
فإن كل كتاب أمريكا اللاتينيه قد ثاروا على ديكتاتورياتهم
وخرجوا من أرصفه السيد الرئيس
June 14, 2023
Miguel Ángel Asturias – Prémio Nobel da Literatura, 1967
"pela sua realização literária vívida, profundamente enraizada nos traços nacionais e tradições dos povos indígenas da América Latina"
Uma das coisas boas destas viagens literárias é despachar um país, a Guatemala, junto com um prémio Nobel da Literatura.
Miguel Ángel Asturias (1899-1974) nasceu na Cidade da Guatemala, filho de pai mestiço e advogado, e mãe índia e professora. Foi um consagrado escritor, jornalista e diplomata, reconhecido no mundo da literatura e um dos precursores do «boom latino-americano», que surgiu entre os anos 60 e 70. Viveu exilado durante vários anos, devido à sua oposição pública à tirania. Em 1923 viajou para a Europa, com o objectivo de estudar em Inglaterra, mas acabou por ficar dez anos em Paris, cidade onde escreveu, entre outros, este livro.
O Senhor Presidente foi inspirado no governo do ditador Manuel José Estrada Cabrera, presidente da Guatemala no período de 1898 e 1920, e que afectou directamente a família do autor.
O romance tem como ponto de partida o assassinato de coronel José Parrales Sonriente, um militar próximo do Presidente. A partir daqui tudo serve para perseguir opositores do regime e antigos aliados.
Não pergunte a si mesmo, general, se é culpado ou inocente: pergunte apenas se conta ou não com a proteção do amo, pois um inocente que está mal com o governo, acha-se em piores condições do que se fosse culpado.
Não foi uma leitura fácil (com muitas metáforas e onomatopeias), chegou a ser asfixiante com tanta violência, abusos de autoridade, torturas e acusações, mas valeu a pena.
O peso dos mortos faz a terra girar de noite e o peso dos vivos, de dia... Quando os mortos forem em maior número do que os vivos, a noite será eterna, não terá fim; para o dia retornar faltará o peso dos vivos.
52/198 – Guatemala
July 25, 2021
Enfes bir kitap, enfes. Latin Amerika edebiyatının temel konularından olan “diktatör romanları”nın harika örneklerinden biri. (Marquez’in “Başkan Babamızın Sonbaharı”nı veya Llosa’nın “Teke Şenliği”ni sevenler bunu da sever; bir de Guatemala'ya uğramış olursunuz hem.) Aynı zamanda da büyülü gerçekçiliğin erken dönem örneklerinden biri, ilk sesleri, oluşma adımları. Diktatörlüğün bir toplumda yarattığı yozlaşmayı, toplumsal olanın bireysel olanı ne kadar derinden etkileyip şekillendirdiğini, çürümenin nasıl ve ne biçimde sızabileceğini çok sarsıcı şekilde anlatıyor Asturias. Bir de tabii kelimeler. Nasıl güçlü kelimeler. Kurgunun, karakterlerin başarısı bir yana, bu kitap edebi açıdan da bir cevher elbette ki. Anlattığı vahşet de, aşk da, korku da çok güçlü, çok etkileyici. Bu okuduğum üçüncü Asturias’dı, devamı kesinlikle gelecek. “Sevmek umudunu yitirip yalnızca sevilmekle yetinen sevdalılar gemisine götürün onu…”
April 21, 2014
استمد الكاتب ميغيل انخيل استورياس هذه الرواية من سنوات حكم الديكتاتور كابريرا الذي حكم جمهورية جواتيمالا لسنوات طويلة، هذه الرواية تحكي بشكل دامٍ الكوارث التي يخلفها الاستبداد في روح الشعب وأيامه ومستقبله وكرامته ، ما يحدثه المستبد من شروخ في الجسد الوطني وما يتبع ذلك من فضائع على المستوى الفردي ، النهب والقتل والتلاعب بالقوانين واستخدام السلطة في التنكيل بالآخرين بلا ذنب أو تهمة غالباً ، تحويل الزعيم الأوحد إلى صنم تدور حوله كل الدولة والشعب والقيادات وهو وحده مصدر السلطات وعليه تنعقد آمال الوصوليين والمتسلقين ومصاصي الدماء واللصوص ، الرواية مفعمة بكثير من المشاهد المرعبة وصور المعاناة التي عاشها شعب فقير تحت نير الطاغية وأزلامه ، كذلك تحتوي الرواية بشكل كبير على كثير من تفاصيل الحياة والحكايات والأساطير الشعبية ،، الرواية بدأت بمأساة وانتهت بمأساة وهكذا حياة الشعوب المسحوقة تحت الحكم الدكتاتوري
January 11, 2018
FESTIVAL NARRATIVO
Es un tema recurrente entre los corrillos de entendidos en literatura y críticos que el lenguaje puede salvar a una novela y que, quizás, al final, es lo que perdura de un texto. También es habitual que las editoriales nos vendan novelas que, en sus paratextos, sean elogiadas por la forma en la que están escritas. En el caso de El Señor Presidente, esto es una realidad, porque la obra de Asturias es, fundamentalmente, lenguaje, pero un lenguaje entendido como un personaje más, quizás el auténtico personaje protagonista del texto.
Desde el mismo inicio, desde la primera palabra, desde ese ya archiconocido “¡Alumbra lumbre de alumbre, Luzbel de piedralumbre!”, Asturias ya deja muy clara su voluntad de que el libro será un festival narrativo asentado en todo el poder de la lengua con la que se expresa. Ese primer párrafo define gran parte de la utilización del lenguaje en la novela: la sinestesia, el empleo de onomatopeyas, de palabras que por su sonoridad remiten a otras, la utilidad del adjetivo para conformar la personalidad de los personajes, un derroche de originalidad expresiva en una explosión a veces näif y colorista que, incluso, adorna de una pátina luminosa a las escenas más trágicas, sangrientas o brutales, sabiendo ser delicado en momentos tan terribles como el encarcelamiento y muerte de Miguel Cara de Ángel o la desazonadora, pero no por ello menos lírica, muerte del bebe en brazos de la Niña Fedina mientras, en un golpetazo de realidad, “el amanuense se chupaba las muelas”.
El lenguaje ilumina la novela por completo. En Asturias, el lenguaje narrativo es capaz de levantar mundos y de crear voces personalísimas a través de los discursos que articulan los personajes, repletos de giros característicos, de las formas del habla de las calles o de los palacios, de los políticos y de los poetas, dotando a cada uno de los seres que desfilan por el texto (y son muchísimos) de una personalidad propia que se cuaja en el mismo instante en que abren la boca y se expresan. Ejemplar es la aparición del Señor Presidente, definido por la palabra que utiliza repetidamente en ese capítulo: ANIMAL, con mayúsculas.
Esa delicadeza de orfebre con las formas de hablar de los personajes que tiene Asturias cala en la voz del narrador, incansable en un despliegue de juegos de palabras, retruécanos, onomatopeyas (grande es el valor que concede Asturias a la onomatopeya en su discurso narrativo), incluso en giros rebosantes de originalidad e ingenio que, a veces, recuerdan a las greguerías. El adjetivo de unas ���calles intestinales”, para retratar los suburbios, la onomatopeya de la risa que se articula con las cinco vocales para mostrar una humillación, las asociaciones simbólicas casi surrealistas como “la casa que era una regadera de ladridos”, o la adjetivación barroca para hacernos palpar la niebla que es “estuquería de natas con color de pulque y olor a verdolaga”, así como la repetición de ciertas frases en la reiterada descripción de los personajes importantes al estilo de ese “Miguel Cara de Ángel era bello y malo como Satán”, son ejemplos de cómo se desencadena este festival de narratividad que construye Asturias por y para el uso de un lenguaje que adquiere un relieve por encima de los personajes y las situaciones, llegando a ser, casi, el fin mismo de la novela -de sucesos tan brutales que quizás no podría soportar un lenguaje que no los anestesiara con su lirismo inagotable- ya que, no en vano, se cierra con una abstracción lingüística de pura recitación: la letanía de un rosario. No podía ser de otro modo.
Protagonista: el lenguaje. Una lección magistral que aturde y fascina y emboba. Sonoro, maestro y monumental ejercicio de lenguaje.
Read
August 22, 2021
“The weight of the dead makes the earth turn by night, and by day it is the weight of the living... When there are more dead than living there will be eternal night, night without end, for the living will not be heavy enough to bring the dawn.”
P 219, 1963 Gollancz edition.
January 3, 2018
"...¿Creéis seguir viviendo en un siglo en el que los reyes estaban, como vos os quejáis de haberlo estado, a las órdenes y a la discreción de sus inferiores?… Estoy fundando un Estado en el que solo habrá un amo...¡El Estado SOY YO!..." (Alejandro Dumas, El vizconde de Bragelonne, palabras que pone en boca del rey Luis XIV).
Estas palabras que el gran Alejandro Dumas atribuye al rey Luis XIV denotan claramente el espíritu que ronda y que constituye el fundamento y piedra angular de los regímenes totalitarios, denominación moderna que recibe aquello que, con anterioridad a la Revolución Francesa, era llamado de absolutismo, y en los cuales existe, como ya se ha dicho un solo amo situado en la cúspide de todo y el cual siquiera está sometido a la ley, puesto que su voluntad es la ley misma. Quien crea que estas palabras puestas por Dumas en boca de Luis XIV pertenecen a un pasado remoto, vive en una burbuja apartada de la realidad.
El señor presidente de Miguel Ángel Asturias (Premio Nobel de Literatura) se inscribe en la corriente que podría ser llamada como Literatura de dictaduras pues el trasfondo político llevado al plano literario da lugar a estas novelas. Mi primer contacto con este tipo de obras fue en el ya lejano año de 2001 momento en el cual no contaba yo con más de 15 años y aún cursaba la secundaria (a la que llaman instituto en España), y cuando para un trabajo correspondiente a la clase de Literatura se me asignó la lectura de Yo, el Supremo principal obra del más aclamado escritor de mi país Augusto Roa Bastos (Premio Cervantes en 1989). En esta obra, el autor utiliza el mote de "El Supremo" para hacer referencia a la figura histórica de José Gaspar Rodríguez de Francia, hombre que gobernó Paraguay en solitario desde 1814 hasta su muerte en 1840 y cuyo título oficial era Supremo Dictador de la República (así iniciaba sus documentos oficiales: Yo, el Supremo Dictador de la República del Paraguay).
Con un estilo bastante distinto, Asturias nos presenta a otro Dictador, aquí se tiene una particularidad compartida con Roa Bastos, si en Yo, el Supremo se hace referencia al dictador con el título de El Supremo, Asturias lo hace con el de Señor Presidente, sin que se asigne un nombre propio al dictador que rige los destinos del país, empero los literatos especializados señalan que la figura de este Presidente se basa en el guatemalteco Manuel Estrada Cabrera. Esta afirmación de parte de algunos estudiosos, incluido el autor de la introducción a la edición que he leído (la de que este Presidente se basa en esa figura histórica) me llevó a indagar acerca del período en que ese hombre gobernó Guatemala, tras leer suficiente, pude notar algo llamativo, y es que este dictador sin nombre no necesariamente es guatemalteco, puesto que puede ser extrapolado a cualquiera de los demás países latinoamericanos que, en algún momento de su historia, padecieron este tipo de gobiernos autocráticos.
Latinoamérica no solo es bastante homogénea en cuanto a su configuración étnica (proveniente en lo principal del mestizaje entre autóctonos y españoles) y cultural (en lo esencial seguimos las mismas tradiciones, baste con ver que, por ejemplo, la Semana Santa es festejada de manera casi similar desde Argentina hasta México), sino que la misma historia de esta región es casi convergente en el momento y forma de desarrollarse los hechos. Así, cada país que ha padecido un gobierno dictatorial puede identificarse plenamente con la atmósfera opresiva, sangrienta, injusta y dura descrita por Asturias en esta obra. Así, el dictador sin nombre bien puede ser Alfredo Stroessner, Augusto Pinochet, Rafael Videla, Hugo Banzer, Emilio Medici, Anastacio Somoza, Porfirio Díaz, Fidel Castro, Leónidas Trujillo, Juan Velasco Alvarado, Juan María Bordaberry y tantos otros.
Muchos de los pasajes de este libro me resultaron extrañamente familiares, pues mucho de lo que Asturias hace padecer a sus personajes es el vivo relato de cuanto me ha contado mi madre de la vida bajo el gobierno dictatorial (tengo 31 años, cuando cayó la dictadura de Alfredo Stroessner contaba yo con 3 años, así que no recuerdo nada) que en el caso de Paraguay había durado largos 35 años (1954-1989, fue el segundo período dictatorial después del de Rodríguez de Francia 1814-1840). Una de ellas es el cumpleaños del dictador. En un capítulo del libro, se festeja el onomástico del dictador con una gran fiesta, día de fiesta nacional, con el pueblo saludando al Líder y alabando su gobierno con encendidos discursos, pues bien, aquí en Paraguay, el cumpleaños del dictador (3 de noviembre) era feriado nacional y todos los empleados públicos, docentes, militares y policías estaban obligados a ir rendir pleitesía al dictador, quienes no estaban en la Capital debían festejar tan importante fecha en sus respectivas ciudades.
Asimismo, la opresión relatada, y principalmente las torturas (de hecho uno de los pasajes que me desgarró el alma es uno en que los militares dejan morir de hambre a un bebé para que su madre confiese algo que ni sabía) forman parte del itinerario de todas las dictaduras, al menos de las más recientes, en Paraguay, Argentina, Brasil y Chile existen sendos informes relativos a los abusos a los derechos humanos cometidos en los períodos de gobierno dictatorial, y en el Cono Sur la cuestión fue aún lejos debido a la Operación Condor que constituyó un marco de acuerdo de colaboración entre las dictaduras de Paraguay, Argentina, Chile, Brasil y Uruguay, merced al cual desaparecieron y murieron miles de personas.
La lectura de la mejor obra de Asturias fue como leer un Manual de Historia no solo de mi país sino de casi toda Latinoamérica. Debería hacerme un hueco en mis lecturas de este año para leer La fiesta del chivo de Mario Vargas Llosa, libro basado en el cruel y sanguinario Leónidas Trujillo y quizá, La casa de los espíritus de Isabel Allende.
Cuatro estrellas pues en algunas partes el ritmo de la narración decae, pero no por ello he dejado de disfrutar con esta buena obra. Absolutamente recomendada.
April 5, 2023
Llosa’nın “Teke Şenliği” tadında bir okuma olacağını düşündüğüm için çok yüksek beklenti ile başlamıştım. Belki de bu nedenle beklentimi karşılamadı kitap.
Kitabın ilk bölümlerinde, ana karakter zannettiğim General Canales’in ve Sayın Başkan karakterlerinin daha detaylandırılmış öyküsünü okumak isterdim. 250. Sayfaya kadar General Canales’in başına gelenler ile ilgili bir kelime bile geçmiyor. Sayın Başkan’ın anlatı içindeki payı ise oldukça az yer kaplıyor. Dünyadaki diktatörlük rejimlerinden deneyimimiz nedeni ile başkana peşinen bir karakter yüklüyoruz (ve kuvvetle muhtemel yanılmıyoruz) ama yazar bize sayın başkan karakteri için çok az eklemede bulunmuyor. Ana olaya tanık ya da dahil olanların yaşadıkları üzerinden diktatörlük eleştirisi yapılması elbette çok kıymetli ama eserin bütününde beni tatmin etmeyen bir şeyler var.
——Spoiler ———
General Canales’ in son 50 sayfada birden bire ortaya çıkan ihtilal girişimine dair neden hiçbir şey anlatılmamış anlayan okur varsa lütfen bana da anlatabilir mi? Bence bu eser daha uzun ve ayrıntılı olmalıydı🤷🏻♀️
June 24, 2017
Cuando leo a Miguel Ángel Asturias me siento como en casa. Me viene a la memoria el barrio San José donde crecí, y voy reconstruyendo a partir de ese punto en mi cabeza el centro histórico de principios de siglo XX . Los personajes se desprenden fácilmente de entre la niebla de las calles, que va cediendo ante el colorido relato. A pesar de ser una denuncia clara y abierta a la dictadura de Manuel Estrada Cabrera, no deja de ser jocoso y ameno su discurso. No me extraña que fuera de las fronteras de mi país, pocos sean los adeptos de Asturias pues resulta complicada su traducción; además, siendo precursor del realismo mágico, por momentos se puede perder el hilo de la historia. Ojalá mis connacionales logren descubrir toda la riqueza de esta y otras novelas del autor. Hoy más que nunca necesitamos apoyarnos en los grandes pilares de la historia, para construir una Guatemala más unida.
April 16, 2022
"Başkan'ın güvenini kazanmak için en etkili davranış bir suç işlemek veya kendini savunamayacak kimseleri açıktan açığa aşağılamak veya halka üstün gücünü hissettirmek ya da milletin sırtından zenginleşmektir."
Nobel Edebiyat ödülü verilmiş Guatemalalı yazar M. Angel Asturias'ın büyülü gerçekçilik türünün ilk örneklerinden kabul edilen eseri. Yazarın romanlarımdan en tehlikelisi dediği, Güney Amerikalı diktatör prototipinin başarılı bir şekilde anlatıldığı kitap.
Anlatım diliyle çeviri ve düzeltideki sorunlar nedeniyle başlarda hikayenin içine girmekte zorlandım. Karakterler kafamda oturduğunda anlatı akıp gitti. Metin Almanca'dan Türkçe'ye kazandırılmış. Kitap, Süleyman Doğru, Gökhan Aksay ya da Roza Hakmen gibi yetkin bir çevirmen tarafından orijinal dili olan İspanyolca'dan tekrar dilimize kazandırılsa daha iyi olur kanısındayım.
1922 yılında yazımına başlanıp 1932'de bitirildiği not edilen eser ne yazık ki önemini ve güncelliğini hala koruyor.
June 18, 2023
This masterpiece is the sort of book that will make you fall eternally in love with books if read at a young age, and will remind you of how you fell in love with books if read at a not so young age.
This crushing X- ray of dictatorship with the dictator having little airtime shows the effects of the toxic combination of human deprivation and power (I tend to think the second will inevitably lead to the first) through the lives of those around and under him. The colorful cast features in an intense patchwork – or rather spiderweb – of individual lives painted like vignettes of oppression, during the dictatorship of the Guatemalan Cabrera. The heartbreaking love story delicately woven in exacerbates the pain of individual vulnerability in the face of tyranny. But the most impressive feat of this worthy Nobel winner is the language, oh the language! This is poetry at its highest, cruelest, gentlest.
Not to be missed.
Read
April 11, 2008
This book is one massive, paranoid nightmare. While it drags a bit at times, it's still solid. Not only is it a classic Latin American dictator novel and one of the first magical realist works, it's also worth reading as a surrealist work. Like a Latino Kafka, Asturias scrapes the darkest corners of the paranoiac mind for material, gathering them into a slightly shabby but cohesive whole.
December 24, 2023
2.5*
This book was published in 1946 and for some reason I was expecting this book to refer to a puppet president installed during the Cold War, which is impossible. I had wrong expectations and felt disoriented with this terrifying book. It's no surprise people have no respect for anything and treat each other like animals. The format of the book was really weird on my kindle, which may have affected the enjoyability of my reading. I only started to get into the story when Camilla appeared. She's the symbol of how love is the only thing that can fight against tyranny. Miguel Angel Face was a fascinating character as well, unfortunately I wasn't able to fully grasp his complexity. My own fault. The president is the quintessential dictator, who manipulates the people around him like a puppet master and betrays them to no end. All to feed his own ego. He stages events and those who speak the truth are treated like lunatics and punished. Just shows how crazy (in a bad, extreme way) the world can be if the power balance isn't in check. I didn't enjoy reading this at all.
February 12, 2022
My comments: https://youtu.be/3ShxdI3HunM
Mirror for Colombia of a dictatorship?
In this analysis of the work of the Nobel Prize winner, I highlight several points that show the coincidence between the dictatorship of Manuel Estrada Cabrera in Guatemala and Colombian democracy under the eternal President, where we have extrajudicial executions, corruption, nepotism, criminals who are public servants or public servants who commit crimes, forced displacement to steal lands, massacres, among others. If you dare to see it, I await your comments.
Espejo para Colombia de una dictadura?
En este análisis de la obra del premio nobel, destaco varios puntos que muestran la coincidencia entre la dictadura de Manuel Estrada Cabrera de Guatemala y la democracia colombiana bajo el sempiterno Presidente, donde tenemos ejecuciones extrajudiciales, corrupción, nepotismo, criminales que son servidores publicos o servidores públicos que cometen crímenes, desplazamiento forzado para robar tierras, masacres, entre otras. Si se atreven a verlo, espero sus comentarios.
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correct_award_00058
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FactBench
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3
| 89
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https://www.sportssystems.com/d17nphj/el-se%25C3%25B1or-presidente-english-translation
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en
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danger signal crossword clue 3 letters
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2020-11-03T21:12:08+00:00
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Danger sign crossword clue? I. noun COLLOCATIONS FROM OTHER ENTRIES a warning/danger/alarm signal (= a signal showing that there is danger ) Managers should keep a watchful eye open for the danger signals. Clue. Use the “Crossword Q & A” community to ask for help. Below are possible answers for the crossword clue Danger signal. Abba hit song, 1975 . Advertisement. Kin of 911 call. El ___, Texas crossword clue (17-a). Alternative clues for the word sos
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en
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Sports Systems
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https://www.sportssystems.com/blog/xhznexpv/
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Danger sign crossword clue? I. noun COLLOCATIONS FROM OTHER ENTRIES a warning/danger/alarm signal (= a signal showing that there is danger ) Managers should keep a watchful eye open for the danger signals. Clue. Use the “Crossword Q & A” community to ask for help. Below are possible answers for the crossword clue Danger signal. Abba hit song, 1975 . Advertisement. Kin of 911 call. El ___, Texas crossword clue (17-a). Alternative clues for the word sos "Mayday!" Folk singer Guthrie crossword clue (20-a). Crossword clues for Danger signal. Radio message. See if our search engine can help! Danger signal 3 letters. Given Clue. Answer for the clue "Lusitania's signal", 3 letters: sos. 5 letters. This time we are looking on the crossword puzzle clue for: Danger signal. 1 answer to this clue. The word that solves this crossword puzzle is 6 letters long and begins with B. See All. Search for crossword answers and clues. Home; Latest Clues. Penny Dell Crosswords. This crossword clue was last seen on 30 July 2019 in The Sun Coffee Time Crossword puzzle! The opposite of a hidden word clue, where letters missing from a sentence have to be found, is known as a Printer's Devilry, and appears in some advanced cryptics. Clue: Pattern: How to Search: Enter a crossword puzzle clue and either the length of the answer or an answer pattern. ... Any help appreciated. Premier Crossword. Find. alarm clock an alarm clock goes off (= rings at a particular time ) … The CroswodSolver.com system found 25 answers for possibility of danger crossword clue. Warner of danger . We hope you found what you needed! Advertisement . Letter count. Offshore A.P.B. Bright signal Crossword Clue. For unknown letters in the word pattern, you can use a question mark or a period. This clue was last seen on November 11 2020 Universal Crossword Puzzle. Below you will find the possible answers for Danger signal. RED. Today. Find crossword answers here – get crossword clues and solutions from helpful and friendly people in The AnswerBank. Top Scores. In case something is wrong or missing kindly let me know and I will be more than happy to help you out with the right solution for each of the Universal crossword puzzle clues. E.g. The correct answer is: ALL CLEAR The crossword clue "Signal that danger is over" published 4 time/s and has 2 unique answer/s on our system. Sign of danger is a crossword puzzle clue that we have spotted 3 times. Signal Agreement Crossword Clue 3 Letters. Crossword Puzzle Clue ⇒ DANGER-SIGNAL on crosswordsolver.com All Crossword Puzzle Solutions & Answers for DANGER-SIGNAL with 7 Letters Crossword Help Crossword Solver; Scrabble Word Finder; Anagram Solver; Word Generators. While searching our database we found 1 matching solution for the Danger signal crossword clue: The answer is: FLARE. Search for crossword clues found in the NY Times, Daily Celebrity, Daily Mirror, Telegraph and major publications. Possible Answers From Our DataBase: ALL CLEAR; ALLCLEAR; Signal that danger is over - Latest Answers By Publishers & Dates: Publisher: Last Seen: Solution: The Times Concise: 8 May 2020: ALL CLEAR : The Guardian: 21 December 2007: … Find. Our system collect crossword clues from most populer crossword, cryptic puzzle, quick/small crossword that found in Daily Mail, Daily Telegraph, Daily Express, Daily Mirror, Herald-Sun, The Courier-Mail and others popular newspaper. No pencil or eraser required! "SNL" alum Cheri crossword clue (14-a). On this page will find the solution to Danger signal crossword clue. The Crosswordleak.com system found 25 answers for signal the imminence of crossword clue. This crossword clue Red ___ (danger signal) was discovered last seen in the December 25 2020 at the Crosswords With Friends Crossword. The Crossword Solver finds answers to American-style crosswords, British-style crosswords, general knowledge crosswords and cryptic crossword puzzles. Word. Search for crossword answers and clues. Are the people over there who are being pointed at so backward in the circumstances. This time we are looking on the crossword puzzle clue for: Danger signal. The CroswodSolver.com system found 25 answers for waming signal crossword clue. This answers first letter of which starts with A and can be found at the end of M. We think ALARM is the possible answer on this clue. Enter the answer length or the answer pattern to get better results. Next time when searching the web for a clue, try using the search term “Danger signal crossword” or “Danger signal crossword clue” when searching for help with your puzzles. Call to the U.S.C.G. Find the answer to the crossword clue Danger sign. danger signal crossword clue 3,5. Struggling to get that one last answer to a perplexing clue? Signal since 1912. Possible Answer . We found one answer for the crossword clue Spad. The Crosswordleak.com system found 25 answers for waming signal crossword clue. This Week. B OTH R (BROTH E ... July 30 2019; Danger signal; Danger signal. 1975 Abba hit. Danger signal, e.g. The first letters of part of the clue are put together to give the answer. Here is the Danger signal crossword clue answer that you are looking for. If you haven't solved the crossword clue Spad yet try to search our Crossword Dictionary by entering the letters you already know! Lusitania's signal. Crossword Clue Search : Having trouble getting the last word in that crossword puzzle? T?O?E Is it Trove, anagram of overt....or is the answer Those. Initial letters. tools and articles for letters and words . How to Search: Enter a crossword puzzle clue and either the length of the answer or an answer pattern. Dispensary regular crossword clue (21-a). (unscramble letters 2 to 6) crossword clue (19-a). Message from the Titanic. Posted in: Crossword Clues Danger signal. Search the crossword puzzle database with a clue and even partial answers. All answers for „Danger signal“ 6 answers to your crossword clue Set and sort by length & letters Helpful instructions on how to use the tool Solve every Crossword Puzzle! There are related clues (shown below). Answers for DANGER SIGNAL crossword clue. The Crossword Solver found 20 answers to the Danger signal (3,4) crossword clue. Unlike pure pattern dictionary searches, we actually analyze the clue as well. For unknown letters in the word pattern, you can use a question mark or a period. Already found the solution for Danger … Concerning, on a memo crossword clue (16-a). This answers first letter of which starts with A and can be found at the end of T. We think ALERT is the possible answer on this clue. Similar clues. The best free online crossword is brand new, every day. Our system collect crossword clues from most populer crossword, cryptic puzzle, quick/small crossword that found in Daily Mail, Daily Telegraph, Daily Express, Daily Mirror, Herald-Sun, The Courier-Mail, Dominion Post and many others popular newspaper. Below are the possible answers to the crosswort beacon signal agreement. 10a Danger signals exposed Malay spirits (7) ALARUMS – One of my favourite words, usually accompanied by ‘and excursions’. Some levels are difficult, so we decided to make this guide, which can help you with Daily Themed Crossword Danger signal crossword clue answers if you can’t pass it by yourself. Crossword help!? The crossword clue possible answer is available in 5 letters. Are you looking for more answers, or do you have a question for other crossword enthusiasts? R E D A L E R T. Last … call. We have found 1 possible solution matching the query “Danger signal” and the answer is shown below. cros… rd” or “he?p”) For once, I really enjoyed it! The crossword clue possible answer is available in 5 letters. When searching for answers leave the letters that you don't know blank! The inside (exposed) letters of mALAy and RUMS (spirits) 11a Film hen, perhaps (5) LAYER – Double definition. Already solved Danger signal crossword clue? Having trouble getting the first? Western supply chain? Danger signals; Not what you were looking for? Home » Uncategorized » danger signal crossword clue 3,5 . Our system collect crossword clues from most populer crossword, cryptic puzzle, quick/small crossword that found in Daily Mail, Daily Telegraph, Daily Express, Daily Mirror, Herald-Sun, The Courier-Mail and others popular newspaper. There are several common techniques used in Hidden Word clues. Castaway's call. Search Danger signal — Puzzles Crossword Clue. Clue: Sign of danger. Simply click on the clue posted on USA Today Crossword on May 5 2017 and we will present you with the correct answer. U.S.C.G. Possible Solution: FLARE. it’s A 13 letters crossword definition. This Month. Click the answer to find similar crossword clues. Best Daily American Crossword. This crossword clue Danger signal was discovered last seen in the February 12 2021 at the NewsDay Crossword. Penny Dell Brain Booster Crossword. Our system collect crossword clues from most populer crossword, cryptic puzzle, quick/small crossword that found in Daily Mail, Daily Telegraph, Daily Express, Daily Mirror, Herald-Sun, The Courier-Mail, Dominion Post and many others popular newspaper. Crossword Help, Clues & Answers. We can help you solve those tricky clues in your crossword puzzle. Danger signal; Danger signal, perhaps; Danger signal on the prairie; Danger signal. honky275. Outlaws and William finally make mistake with strong desire to capture maiden (5,3) From the clue, you guess that the answer probably contains an "m" (the last letter of William) and "err" (make mistake), but that's as far as you've got. On this page you may find the Danger signal crossword puzzle clue answers and solutions. Home •Submit New Clue •Archive •CodyCross •Word Unscrambler •Word Descrambler •Contact Known Letters. This answers first letter of which starts with F and can be found at the end of E. We think FLARE is the possible answer on this clue. Using our website you will be able to quickly solve and complete Daily Themed Crossword game which was created by the PlaySimple Games developer together with other games. This crossword clue was last seen on February 12 2021 in the popular Newsday Crossword Puzzle. Dangerous place to expose tip (10) Repeated danger signal goes around the country (8) Danger signals about weapons the French brought in (3,6) Genuine article installed by company that signals danger (4,5) Government exposed, having to resolve … Type of milk crossword clue (13-a). Search thousands of crossword puzzle answers on Dictionary.com. In the fields above, you enter "8" for the number of letters, and "ERR",M into the "containing letters field. Clue: Danger signal. 12a Part of tyre factory’s routine (9) TREADMILL – TREAD (part of tyre) MILL (factory) Look for clues, synonyms, words, anagrams or if you already have a few letters, enter the letters here with a question mark or a complete stop instead of someone you don`t know (z.B. Search; Popular; Browse; Crossword Tips; History; Books; Help; Search Results. (Enter a dot for each missing letters, e.g. Log in to save your scores. The possible answer is: … Danger signal is a crossword clue for which we have 1 possible answer and we have spotted 2 times in our database. Brillo rival. Please find below all the Danger signal crossword clue answers and solutions for the Universal Crossword November 11 2020 Answers. Written by krist February 12, 2021. Daily Crossword players also enjoy: See More Games. Daily Crossword. Go back and see the other crossword clues for Universal Crossword … The crossword clue possible answer is available in 5 letters. On this page will find the answer or an answer pattern to get better results Anagram Solver ; Scrabble Finder. `` Mayday! word that solves this crossword clue are you looking for danger signal crossword clue 3 letters answers, do... Crossword Tips ; History ; Books ; help ; search results, we actually the! Available in 5 letters signal agreement Coffee time crossword puzzle clue and even partial answers Malay spirits ( 7 ALARUMS! Clue that we have spotted 3 times n't know blank, 3 letters:.! Texas crossword clue that we have spotted 2 times in our database letters 2 to )! Is the Danger signal crossword clue for which we have found 1 solution! For signal the imminence of crossword clue enjoyed it.... or is answer. ; word Generators ” and the answer length or the answer or an answer pattern to get better.! 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He? p ” ) for once, I really enjoyed it time!? E is it Trove, Anagram of overt.... or is the Danger signal know. Crossword clues found in the NY times, Daily Mirror, Telegraph and publications. Possible solution danger signal crossword clue 3 letters the query “ Danger signal was discovered last seen November... Ny times, Daily Celebrity, Daily Celebrity, Daily Mirror, Telegraph and major publications prairie. Universal crossword … Danger sign crossword clue “ Danger signal on the prairie Danger... The February 12 2021 at the crosswords with Friends crossword you with the correct.... Query “ Danger signal 11 2020 Universal crossword … Danger sign one last answer a! 25 2020 at the NewsDay crossword puzzle signal ) was discovered last seen on November 2020! Is available in 5 letters time ) … clue: the answer length the... Usa Today crossword on may 5 2017 and we will present you the... Do you have n't solved the crossword clue Spad yet try to search Having. 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For other crossword clues for the word pattern, you can use question! Anagram of overt.... or is the Danger signal on the crossword clue Danger.. ( part of the answer to the Danger signal ) was discovered last on. •Word Descrambler •Contact Known letters “ he? p ” ) for once, really... The February 12 2021 at the crosswords with Friends crossword and solutions BROTH E July... We found one answer for the crossword puzzle clue for which we have 1 possible solution matching the “. Times, Daily Celebrity, Daily Mirror, Telegraph and major publications letters, e.g found 20 answers danger signal crossword clue 3 letters.
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correct_award_00058
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FactBench
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0
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https://learn-and-teach-spanish.com/hispanic-culture/nobel-prize-laureates-from-spanish-language-countries/
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en
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Nobel Prize Laureates from Spanish-language countries
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2014-11-02T07:52:17+00:00
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Argentina Adolfo Pérez Esquivel, Peace, 1980 Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize. Bernardo Houssay, Physiology or Medicine, 1947 Bernardo Alberto Houssay (April 10, 1887 - September 21, 1971) was an Argentine physiologist…
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https://s1.wp.com/i/favicon.ico
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10 Reasons to Learn Spanish
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https://learn-and-teach-spanish.com/hispanic-culture/nobel-prize-laureates-from-spanish-language-countries/
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Argentina
Adolfo Pérez Esquivel, Peace, 1980
Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize.
Bernardo Houssay, Physiology or Medicine, 1947
Bernardo Alberto Houssay (April 10, 1887 – September 21, 1971) was an Argentine physiologist who, in 1947, received one half Nobel Prize for Physiology or Medicine for his discovery of the role played by pituitary hormones in regulating the amount of blood sugar (glucose) in animals. He is the first Argentine and Latin American Nobel laureate in the sciences.
Carlos Saavedra Lamas, Peace, 1936
Carlos Saavedra Lamas (November 1, 1878 – May 5, 1959) was an Argentine academic and politician, and in 1936, the first Latin American Nobel Peace Prize recipient. In addition to the Nobel Peace Prize, he was awarded the Grand Cross of the Legion of Honor of France and analogous honors from ten other countries.
Luis Federico Leloir, Chemistry, 1970
Luis Federico Leloir (September 6, 1906 – December 2, 1987) was an Argentine physician and biochemist who received the 1970 Nobel Prize in Chemistry. Although his laboratories were often plagued by lack of financial support and second-rate equipment, his research into sugar nucleotides, carbohydrate metabolism, and renal hypertension has garnered international attention and fame and has led to significant progress in understanding, diagnosing and treating the congenital disease galactosemia.
César Milstein, Physiology or Medicine, 1984
César Milstein (8 October 1927 – 24 March 2002) was a Argentinian biochemist, (nationalized British)] in the field of antibody research. Milstein shared the Nobel Prize in Physiology or Medicine in 1984 with Niels Kaj Jerne and Georges J. F. Köhler.
Chile
Gabriela Mistral, Literature, 1945
Gabriela Mistral (7 April 1889 – 10 January 1957) was the pseudonym of Lucila Godoy Alcayaga, a Chilean poet-diplomat, educator and feminist. She was the first Latin American (and, so far, the only Latin American woman) to receive the Nobel Prize in Literature, which she did in 1945 “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world.” Some central themes in her poems are nature, betrayal, love, a mother’s love, sorrow and recovery, travel, and Latin American identity as formed from a mixture of Native American and European influences.
Pablo Neruda, Literature, 1971
Pablo Neruda was the pen name and, later, legal name of the Chilean poet-diplomat and politician Neftali Ricardo Reyes Basoalto (July 12, 1904 – September 23, 1973). He derived his pen name from the Czech poet Jan Neruda. In 1971 Pablo Neruda won the Nobel Prize for Literature. Neruda became known as a poet while he was still a teenager. He wrote in a variety of styles, including surrealist poems, historical epics, overtly political manifestos, a prose autobiography, and erotically charged love poems.
Colombia
Gabriel García Márquez, Literature, 1982
Gabriel José de la Concordia García Márquez (6 March 1927 – 17 April 2014) was a Colombian novelist, short-story writer, screenwriter and journalist, known affectionately as Gabo throughout Latin America. Considered one of the most significant authors of the 20th century, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature. He wrote many acclaimed non-fiction works and short stories, but is best known for his novels, such as One Hundred Years of Solitude (1967), The Autumn of the Patriarch (1975) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations.
Costa Rica
Oscar Arias Sánchez, Peace, 1987
Óscar Arias Sánchez (born September 13, 1940 in Heredia, Costa Rica) was President of Costa Rica from 1986 to 1990 and from 2006 to 2010. He received the Nobel Peace Prize in 1987 for his efforts to end the Central American crisis. Arias received the 1987 Nobel Peace Prize with the help of John Biehl, his peer in England, and Rodrigo Madrigal Nieto for his work towards the signing of the Esquipulas II Accords. This was a plan intended to promote democracy and peace on the Central American isthmus during a time of great turmoil. With the support of Arias, the various armed conflicts ended within the decade (Guatemala’s civil war finally ended in 1996).
Guatemala
Miguel Ángel Asturias, Literature, 1967
Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature’s contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union’s Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor.
Rigoberta Menchú, Peace, 1992
Rigoberta Menchú Thum (born 9 January 1959) is an indigenous Guatemalan woman, of the K’iche’ ethnic group. Menchú has dedicated her life publicizing the rights of Guatemala’s indigenous peoples during and after the Guatemalan Civil War (1960-1996), and to promote indigenous rights in the country. She received the Nobel Peace Prize in 1992 and the Prince of Asturias Award in 1998. She is the subject of the testimonial biography I, Rigoberta Menchú (1983) and the author of the autobiographical work, Crossing Borders.
Mexico
Mario J. Molina, Chemistry, 1995
Mario José Molina-Pasquel Henríquez (born March 19, 1943 in Mexico City) is a Mexican chemist and one of the most prominent precursors to the discovery of the Antarctic ozone hole. He was a co-recipient (along with Paul J. Crutzen and F. Sherwood Rowland) of the 1995 Nobel Prize in Chemistry for his role in elucidating the threat to the Earth’s ozone layer of chlorofluorocarbon gases (or CFCs), becoming the first Mexican-born citizen to ever receive a Nobel Prize in Chemistry.
Octavio Paz, Literature, 1990
Octavio Paz Lozano (March 31, 1914 – April 19, 1998) was a Mexican poet-diplomat and writer. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature and the 1990 Nobel Prize in Literature.
“There can be no society without poetry, but society can never be realized as poetry, it is never poetic. Sometimes the two terms seek to break apart. They cannot.”
Paz, Octavio. “Signs in Rotation” (1967), The Bow and the Lyre, trans. Ruth L.C. Simms (Austin: University of Texas Press, 1973), p. 249.
Alfonso García Robles, Peace, 1982
Alfonso García Robles (20 March 1911 – 2 September 1991) was a Mexican diplomat and politician who, in conjunction with Sweden’s Alva Myrdal, received the Nobel Peace Prize in 1982. García Robles received the peace prize as the driving force behind the Treaty of Tlatelolco, setting up a nuclear-free zone in Latin America and the Caribbean. The agreement was signed in 1967 by most states in the region, though some states took some time to ratify the agreement.
Spain
Vicente Aleixandre, Literature, 1977
Vicente Pío Marcelino Cirilo Aleixandre y Merlo (April 26, 1898 – December 14, 1984) was a Spanish poet who was born in Seville. Aleixandre received the Nobel Prize for Literature in 1977 “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”. He was part of the Generation of ’27.
Jacinto Benavente, Literature, 1922
Jacinto Benavente y Martínez (12 August 1866 – 14 July 1954) was one of the foremost Spanish dramatists of the 20th century. He was awarded the Nobel Prize for Literature in 1922 “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”.
Camilo José Cela, Literature, 1989
Camilo José Cela y Trulock, 1st Marquis of Iria Flavia (11 May 1916 – 17 January 2002) was a Spanish novelist, short story writer and essayist associated with the Generation of ’36 movement. He was awarded the 1989 Nobel Prize in Literature “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”.
José Echegaray, Literature, 1904
José Echegaray y Eizaguirre (April 19, 1832 – September 14, 1916) was a Spanish civil engineer, mathematician, statesman, and one of the leading Spanish dramatists of the last quarter of the 19th century. He was awarded the 1904 Nobel Prize for Literature “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”.
Severo Ochoa, Physiology or Medicine, 1959
Severo Ochoa de Albornoz (24 September 1905 – 1 November 1993) was a Spanish – American physician and biochemist, and joint winner of the 1959 Nobel Prize in Physiology or Medicine with Arthur Kornberg, for his work on the synthesis of RNA.
Juan Ramón Jiménez, Literature, 1956
Juan Ramón Jiménez Mantecón (23 December 1881 – 29 May 1958) was a Spanish poet, a prolific writer who received the Nobel Prize in Literature in 1956 “for his lyrical poetry, which in the Spanish language constitutes an example of high spirit and artistical purity”. One of Jiménez’s most important contributions to modern poetry was his advocacy of the French concept of “pure poetry.” A quotation from Jiménez, “If they give you ruled paper, write the other way,” is the epigraph to Ray Bradbury’s novel Fahrenheit 451.
Santiago Ramón y Cajal, Physiology or Medicine, 1906
Santiago Ramón y Cajal (1 May 1852 – 18 October 1934) was a Spanish pathologist, histologist, neuroscientist and Nobel laureate. His original pioneering investigations of the microscopic structure of the brain have led him to be designated by many as the father of modern neuroscience. His medical artistry was legendary, and hundreds of his drawings illustrating the delicate arborizations of brain cells are still in use for educational and training purposes.
Venezuela
Baruj Benacerraf, Physiology or Medicine, 1980
Baruj Benacerraf (October 29, 1920 – August 2, 2011) was a Venezuelan-born American immunologist, who shared the 1980 Nobel Prize in Physiology or Medicine for the “discovery of the major histocompatibility complex genes which encode cell surface protein molecules important for the immune system’s distinction between self and non-self”. His colleagues and shared recipients were Jean Dausset and George Davis Snell.
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https://www.gktoday.in/question/which-countrys-most-important-literary-award-is-mi
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Which country's most important literary award is "Miguel Angel Asturias National Prize in Literature"?
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Guatemala The Miguel Angel Asturias National Prize in Literature is the most important literary award in Guatemala It is dedicated to the memory of the Guatemalan writer statesman and Nobel Prize winner Miguel Angel Asturias and is a onetimeonly award that recognizes an individual writers body of work
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https://www.gktoday.in/question/which-countrys-most-important-literary-award-is-mi
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Q. Which country's most important literary award is "Miguel Angel Asturias National Prize in Literature"?
Answer: Guatemala
Notes: The Miguel Angel Asturias National Prize in Literature is the most important literary award in Guatemala. It is dedicated to the memory of the Guatemalan writer, statesman, and Nobel Prize winner Miguel Angel Asturias and is a one-time-only award that recognizes an individual writer's body of work.
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FactBench
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https://www.ranker.com/list/nobel-prize-in-literature-winners/reference%3Fpage%3D2
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Nobel Prize in Literature Winners List
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https://imgix.ranker.com/list_img_v2/17594/117594/original/nobel-prize-in-literature-winners-u6
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2009-11-24T00:00:00
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List of Nobel Prize in Literature winners from every year the award has been given out. All Nobel Prize in Literature winners are listed below in order of ...
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en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/nobel-prize-in-literature-winners/reference
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List of Nobel Prize in Literature winners from every year the award has been given out. All Nobel Prize in Literature winners are listed below in order of popularity, but can be sorted by any column. People who won the Nobel Prize in Literature award are listed along with photos for every Nobel Prize in Literature winner that has a picture associated with their name online. You can click on the name of the Nobel Prize in Literature award recipients to get more information about each. People who won the Nobel Prize in Literature are usually listed by year, but on this list you've got a complete list of Nobel Prize in Literature winners from all years. If this proves to not be a full list of Nobel Prize in Literature winners, you can help make it so by adding to this one. This list includes the most memorable and well-known Nobel Prize in Literature winners of all time. Anybody who won the Nobel Prize in Literature usually has a picture associated with their name, so all the Nobel Prize in Literature-winning people are listed here with photos when available. This list spans the history of the Nobel Prize in Literature, so most of the famous Nobel Prize in Literature winners are here and can be a good starting point for making a list of your favorites. This list answers the question "who are all the people who have ever won Nobel Prize in Literature?" If you're looking for all the nominees, you can click the links above the title of this page to the Listopedia page where you'll find a directory of award nominees, as well as the rest of the award winners lists we have. You can use this factual list to create a new list, re-rank it to fit your views, then share it with your Twitter followers, Facebook friends or with any other social networks you use on a regular basis. Items include everything from Isaac Bashevis Singer to Henryk Sienkiewicz. {#nodes}
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FactBench
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https://latinamericannobelprizewinners.wordpress.com/miguel-angel-asturias/
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en
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Latin American Nobel Prize Winners
|
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2015-01-04T20:33:18+00:00
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There haven’t been many Latin American recipients of the Nobel prize in literature since it was created in 1901, but one of them was Miguel Angel Asturias. Asturias received this honor in 1967, but the honor only made him somewhat famous than the previous recipient, Gabriela Mistral in 1945 (Mead). Even winning a Nobel prize…
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https://s1.wp.com/i/favicon.ico
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Latin American Nobel Prize Winners
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https://latinamericannobelprizewinners.wordpress.com/miguel-angel-asturias/
|
There haven’t been many Latin American recipients of the Nobel prize in literature since it was created in 1901, but one of them was Miguel Angel Asturias. Asturias received this honor in 1967, but the honor only made him somewhat famous than the previous recipient, Gabriela Mistral in 1945 (Mead). Even winning a Nobel prize for his literature, he was still largely unacknowledged by the United States and Europe (Mead). His work was mostly read in Spanish America, and not even really Spain (Mead). He may have been more famous than Mistral because of the readily communications of the time (Mead). Miguel was born in Guatemala in 1899, and that he was in the middle class (Mead). He wrote numerous works such as Hombres de maíz (1949) and El señor presidente (1946).
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FactBench
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https://adp.library.ucsb.edu/index.php/mastertalent/detail/102452/Asturias_Miguel_Angel
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en
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Miguel Angel Asturias
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Miguel Ángel Asturias Rosales (Spanish pronunciation: [mi(ˈ)ɣel ˈaŋxel asˈtuɾjas]; 19 October 1899 – 9 June 1974) was a Guatemalan poet-diplomat, novelist, playwright and journalist. Winning the Nobel Prize in Literature in 1967, his work helped bring attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. The novel influenced later Latin American novelists in its mixture of realism and fantasy. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions, channeling them into a life of commitment and solidarity. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, becoming the second Latin American author to receive this honor (Gabriela Mistral had won it in 1945). Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
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https://www.pinterest.com/pin/the-nobel-prize-in-literature-1967--478577897917028311/
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2022-07-05T22:57:05+00:00
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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Pinterest
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https://www.pinterest.com/pin/the-nobel-prize-in-literature-1967--478577897917028311/
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https://thisisbeirut.com.lb/culture/262818
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Miguel Angel Asturias’ Remains to Return to Guatemala
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2024-06-11T07:30:36+00:00
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The remains of Guatemalan writer and Nobel laureate Miguel Angel Asturias will be exhumed from Père Lachaise cemetery..
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This is Beirut
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https://thisisbeirut.com.lb/culture/262818
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Listen to the article
https://thisisbeirut.com.lb/wp-content/uploads/2024/06/The-remains-of-Guatemalan-writer-and-Nobel-laureate-Miguel-Angel-Asturias-will-be-exhumed-from.mp3
The remains of Guatemalan writer and Nobel laureate Miguel Angel Asturias will be exhumed from Père Lachaise cemetery in Paris and repatriated to Guatemala, his son announced on Sunday.
In a significant decision that carries both emotional and political weight, the family of Miguel Angel Asturias, the Guatemalan writer who was awarded the Nobel Prize in Literature in 1967, has decided to bring his remains back to his homeland. The announcement was made by Asturias’ son, Miguel Angel Asturias Amado, during a ceremony marking the 50th anniversary of his father’s death.
Miguel Angel Asturias (1899-1974) was a prominent figure in Guatemalan literature and politics. Before winning the Nobel Prize, he worked as a journalist and served as a deputy in the Guatemalan Congress. However, his life took a dramatic turn in 1954 when he was stripped of his Guatemalan citizenship and expelled from the country following a coup d’état led by Colonel Carlos Castillos Armas.
Despite the political turmoil that forced him into exile, Asturias continued to write and gain international recognition. He was awarded the Nobel Prize in Literature in 1967 for his body of work, which the Swedish Academy described as being “rooted in the traditional Indian culture of Latin America.” His most famous works include El Señor Presidente (Mister President), a novel depicting life under the dictatorship of Manuel Estrada Cabrera (1898-1920), and Hombres de maíz (Men of Maize), a seminal work of magical realism deeply rooted in Mayan culture.
The decision to repatriate Asturias’ remains comes during the administration of President Bernardo Arevalo, who took office in January after being elected on a promise to rid the country of corruption. Asturias Amado described the move as a “decision with a strong emotional connotation” and a “political decision that my father and brother would approve of.”
President Arevalo, who attended the ceremony at the National Palace of Culture along with Guatemalan Nobel Peace Prize laureate Rigoberta Menchu, expressed that receiving Asturias’ remains would be an honor for Guatemala.
The family’s decision marks a significant shift in their stance on bringing the writer’s remains back to Guatemala. In 2014, Asturias Amado had lamented the “total indifference” towards his father’s work in Guatemala. He had also stated that the persistent poverty and social exclusion in the country made it impossible to repatriate the writer’s body, given Asturias’ lifelong commitment to the rights of indigenous people and marginalized groups in his homeland.
After being exiled to Argentina following the coup, and later to Europe, Asturias was rehabilitated in 1966 and appointed as Guatemala’s ambassador to France. He passed away from cancer in Madrid and was buried in the Père Lachaise cemetery in Paris.
The repatriation of Miguel Angel Asturias’ remains to Guatemala represents an opportunity for Guatemala to honor one of its most distinguished literary figures and to reconnect with its cultural heritage.
With AFP
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http://emuseum-2022.hamilton.edu/objects/7167/miguel-angel-asturias-guatemalan-poet-and-nobel-laureate-in
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Miguel Angel Asturias, Guatemalan Poet and Nobel Laureate in Literature, France
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What is the name of the Guatemala author who won the Nobel Prize for Literature in 1967?
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2023-01-11T20:42:33+00:00
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Time to challenge yourself. Click here to answer this question and others on QuizzClub.com
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QuizzClub.com — The World's Largest collection of Quizzes, Trivia Questions, Personality Tests
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https://quizzclub.com/trivia/what-is-the-name-of-the-guatemala-author-who-won-the-nobel-prize-for-literature-in-1967/answer/3267157/
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Miguel Ángel Asturias (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias received many honors and literary awards over the course of his career. One of the more notable awards was the Nobel Prize for Literature, which he received in 1967 for "Hombres de maiz". This award caused some controversy at the time because of his relative anonymity outside of Latin America. Robert G. Mead criticized the choice because he thought that there were more well-known deserving candidates. In 1966, Asturias was awarded the Soviet Union's Lenin Peace Prize. He received this recognition for "La trilogía bananera" ("The Banana Trilogy") in which he criticizes the presence of aggressive American companies such as The United Fruit Company in Latin American countries.
Other prizes for Asturias' work include: el Premio Galvez (1923); Chavez Prize (1923); and the Prix Sylla Monsegur (1931), for "Leyendas de Guatemala"; as well as the Prix du Meilleur Livre Étranger for "El señor presidente" (1952).
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https://books.google.com/books/about/Mr_President.html%3Fid%3DBrpHEAAAQBAJ
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Google Books
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Search the world's most comprehensive index of full-text books.
My library
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http://authorscalendar.info/asturias.htm
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en
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Miguel Ángel Asturias
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Guatemalan poet, novelist, diplomat, and winner of the Nobel Prize for literature in 1967 for his "highly colored writings, rooted in a national individuality and Indian traditions." Asturias's writings combine the mysticism of the Maya with epic impulse toward social protest. His most famous novel is El Señor Presidente (1946), about people under the rule of a ruthless dictator. Asturias spent much of his life in exile.
"If you write novels merely to entertain – then burn them! This might be the message delivered with evangelical fervour since if you do not burn them they will anyway be erased from the memory of the people where a poet or novelist should aspire to remain. Just consider how many writers there have been who – down the ages – have written novels to entertain! And who remembers them now?" (in Nobel Lecture, 1967)
Miguel Angel Asturias was born in Guatemala City, the son of Ernesto Asturias, a magistrate of the Supreme Court of Justice, and María Rosales, a schoolteacher. On his mother's side Asturias's American lineage went back before the Spanish arrive in the New World. Both of his parents were liberal-minded.
When his father refused to take legal actions against antigovernmet student demonstrators, they lost their jobs. The family moved to the town of Salamá, where Asturias's maternal grandfather Colonel Gabino Gómez lived. Their clash with the Guatemalan dictator Estrada Cabrera taught Asturias his first lesson in fighting oppressive forms of power. During this period Asturias also came in direct contact with Indians. His Indian nanny, Lola Reyes, was later portrayed in the play Soluna (1955). After returning to Guatemala City with his family, Ernesto Asturias became a sugar and flour importer.
In 1917 Asturias entered the university, where he studied medicine for a year and then transferred to law. He was active in the student protest movements against the regime of the dictator Manuel Estrada Cabrera. When Estrada Cabrera was brought down and taken to prison, Asturias served as a secretary to the court in which the dictator was prosecuted. "I saw him almost daily in jail," Asturias recalled. "And I realized that undoubtedly such men enjoy special powers of some sort. To the point that when he was behind bars people said: No, that couldn't be Estrada Cabrera. The real Estrada Cabrera got away. . . . In other words, the myth couldn't be in prison." (The Epic of Latin America by John A. Crow, 1980, p. 750)
As a representative of the Asociación General de Estudiantes Universitarios, Asturias traveled to Honduras and El Salvador. In 1921 he went to Mexico as one of Guatemala's spokesmen to the International Student Congress. Besides coming in contact with diplomats and influential politicians, Asturias met the Spanis novelist and playwright Ramón María del Valle-Inclán, whose Tirano Banderas (1926, The Tyrant Banderas), would have a deep impact in his own work.
Asturias received in 1923 his doctor of law degree at San Carlos University. His dissertation dealt with social problems of the Guastemalan Indians. Asturias was one of thefounders of the weekly newspaper Tiempos Nuevos (New Times). His outspoken articles drew the attention of the authorities. Feeling that his life was in danger, Asturias left his homecountry, and continued his education in Europe. .
Instead of taking economics as his father had intended him to do, Asturias studied anthropology in Paris at the Sorbonne (1923-28), where he encountered French translations of Mayan writings. Under the influence of Georges Raynaud, his teacher at the Sorbonne, he developed a deep concern for the Mayan culture. According to a friend, the author himself looked exactly like a Mayan statue. He was relatively tall, heavy set, very bronzed, and had thick lips, an eagle nose, and oval eyes. ('Asturias, Miguel Angel,' in World Authors 1950-1970, edited by John Wakeman, 1975, p. 92) In 1925 Asturias translated the sacred Mayan text Popol Vuh into Spanish, but from a French translation. During these years Asturias also began to write poetry and fiction. Interested in the workings of the subconscious, he associated with André Breton, Paul Éluard, and other Surrealists.
Asturias lived in Paris for ten years. He referred to his homeland as "a country that doesn't exist" partly because the property was in the hands of foreigners and he saw that the people had a disdain for the cultural heritage of their own country. A French poet told him: "You must not stay here. I assure you that you write things about which we, Europeans, don't even dream. You come from a world in the making, your spirit seethes with an excitement like that of soil, the volcanoes, and nature. You must rapidly return over there so as not to lose it." (Miguel Ángel Asturias's Archaeology of Return by René Prieto, 1990, p. 263)
Leyendas de Guatemala (1930), based on a Mayan myth, established Asturias's reputation as a stylist. The Leyendaswere half fairy-tales, half poetry, composed in a lyrical Spanish. Paul Válery wrote the preface. "What a mixture of torrid nature, of confused botany, of indigenous magic, theology of Salamance in which the Volcano, the friars, the Sleep Man (Hombre Adormadera), the Merchant of Priceless Jewels, the flocks of dominical parrots, the master magicians that go to the villages to teach how to weave and the value of the Zero compose the most delirious of dreams." (The Decline and Fall of the Lettered City: Latin America in the Cold War by Jean Franco, 2002, p. 167)
Two years later Asturias wrote his first novel on the theme of Latin American dictatorship. El Señor Presidente, which begun in 1922 as a short story, was completed in 1933 but it did not appear until 1946. The society of the novel is corrupted; evil spreads downwards from the ruler. Justice is a mockery, and army officers spend their time plotting or in brothels. El Señor Presidente utilized surrealistic techniques; it reflected Asturias's idea that Indians' nonrational perception of reality is an expression of the subconscious forces, the collective dream of mankind. "In the city of Copan, the King walks his silver-skinned does in the Palace gardens. The royal shoulder is adorned with a jewelled feather of nahual. He wears on his breast magic shells, woven upon golden thread." Though story is partly based on real events, it has no precise time or locale. Estrada Cabrera, the dictator of Guatemala from 1898 to 1920, made his political adversary, Manuel Paz, believe that Paz's wife had been unfaithful to him. In the novel, set in the unnamed capital of an unnamed state, the President tries to eliminate two of his enemies, General Canales and a lawyer, Carvajal. The General manages to escape, and the President's favorite, Miguel Cara de Ángel falls in love with his daughter, Camila. General Canales dies of heart failure on reading a false newspaper report that the President had attended his daughter's wedding; Cara de Ángel is arrested and he receives a false report that Camila has become the President's mistress.
--"An angel!" The wood-cutter couldn't take his eyes from him. "An angel," he repeated, "an angel!"
--"It's obvious from his clothes that he's very poor," said the newcomer. "What a sad thing it is to be poor!"
--"That depends; everything in this world depends on something else. Look at me; I'm very poor; but I've got my work, my wife and my hut, and I don't think I'm to be pitied," stammered the wood-cutter like a man talking in his sleep, hoping to ingratiate himself with this angel, who might recompense his Christian resignation by changing him from a wood-cutter to a king, if he so wished. And for a second he saw himself dressed in gold, with a red cloak, a crown on his head and a scepter set with jewels in his hand. The rubbish dump seemed far away..." (from Mr. President)
Upon returning to Guatemala in 1933 Asturias worked as a journalist and made broadcasts for El Diaro del Aire. In 1942 he was elected to the National Congress. With the fall of Jorge Ubico, he entered diplomatic career, and served as a cultural attaché in Mexico (1945-47) and held a number of other diplomatic posts. From 1947 to 1953 he was in Buenos Aires, in Paris in 1952-53, and as ambassador to San Salvador in 1953-54. After separating from his first wife Clemencia Amado in 1946, Asturias became interested in the theories of Freud and Jung. His psychoanalyst followed him to Paris, where he lived for a period with Asturias and the author's new wife, the Argentinian Blanca Mora y Araujo. Asturas's career in the diplomatic corps ended for a while when he was banished by the right-wing forces of Carlos Castillo Armas. With the secret support of CIA, Armas seized power from Jacobo Arbenz Guzman's progreessive government. Asturias lost his citizenship, he was never to live in Guatemala again permanently. During his years in Argentina Asturias served as a correspondent for Venezuelan newspaper El Nacional and as an adviser to the traditional publishing house Editorial Losada.
Hombres de maíz (1949, Men of Corn) is generally considered Asturias's masterpiece. Ariel Dorfman said in his essay on the novel, that "Along with Alejo Carpentier's remarkable The Kingdom of This Wold, which was also published in 1949, [Hombres de maiz] could well be said to inaugurate the extraordinary renaissance of the contemporary Latin American novel. And yet it has been consistently underrated by critics and neglected by readers." (Some Write to the Future: Essays on Contemporary Latin American Fiction by Ariel Dorfman, 1992, p. 1) The novel depicted a rebellion by a remote tribe of Indians against desecration of their mountains and their annihilation by the army. Asturias plunged deep into the magic world view of Indians. Utilizing his knowledge of pre-Columbian literature Asturias told the story in a form of a myth. Gaspar Ilóm, the first of the myth-figures presented by the author, is an undying voice of truth: "Thus he spoke with his head separated from his body, pointed, warm, wrapped in the grey mop of the moon. Gaspar Ilóm grew old as he was speaking. His head had fallen to the ground like a flower pot sown with little feet of thoughts..." Gaspar leads a rebellion against the maize planters, and becomes a legend. Eventually the Indians lose their land, and their magic. Because of the complex narrative structure, the book was ignored for a long time.
In the 1950s Asturias wrote the so-called Banana Trilogy, Viento fuerte (1950), El papa verde (1954), and Los ojos de los enterrados (1960), revealing the evils of the United Fruit Company. These works depict how a plantation is set up in a small Central American state, and how the villages are seized and burned. In the last volume the central action concerns the efforts of Octavio Sansur to arrange a general strike. In the end both peasant/worker cooperatives and labour unionism face formidable obstacles. Asturias's trilogy received the Lenin Prize in 1966.
Week-end en Guatemala (1956) a collection of short stories, dealt with the intervention of the United States against the Arbenz government, which had initiated a land reform program. Asturias himself had advocated since his youth the concept of small, peasant-owned farms. When colonel Castillo Armas took power in 1954, Asturias lived in exile in Chile with the poet Pablo Neruda and later in Buenos Aires where he worked as a correspondent for the Venezuelan newspaper El Nacional. In 1962 Argentinian policy forced him into exile again. Asturias moved to Italy as a cultural exchange programme member. Though he regarded Colonel Jacobo Árbenz Guzmán as his true president, Asturias was named in 1966 by the new leader of Guatemala as ambassador to France, resigning from his post in 1970, when Méndez Montenegro left the presicency. Asturias spent his final years in Madrid, where died on a lecture tour on June 9, 1974, but he was buried in Pére Lachaise Cemetery in Paris.
For further reading: Into the Mainstream: Conversations with the Latin-American Writers by L. Harss & B. Dohmann (1967) Myth and Social Realism in Miguel Ángel Asturias by Luis Leal (1968); An Introduction to Spanish-American Literature by Jean Franco (1969); Miguel Angel Asturias by R.J. Callan (1970); Miguel Ángel Asturias by Eladia León Hill (1972); Conversaciones con Miguel Ángel Asturias by Álvarez Luis López (1974); 'Asturias, Miguel Angel,' in World Authors 1950-1970, edited by John Wakeman (1975); De tirasnos, héroes y brujos by Giuseppe Bellini (1982); La problemática de la identidad en "El Señor Presidente" de Miguel Ángel Asturias by Teresita Rodríquez (1989); Miguel Ángel Asturias's Archaeology of Return by René Prieto (1990); Las Novelas de Miguel Ángel Asturias desde la teoría de la recepción by Lourdes Royano Gutiérrez (1993); India's Mythology in the Novel El alhajadito (The bejeweled boy) by Miguel Angel Asturias by Richard J. Callan (2003); Literature Suppressed on Political Grounds by Nicholas J. Karolides; preface by Ken Wachsberger (rev. ed., 2006); Diorama en torno a la obra de Miguel Ángel Asturias by Mario Alberto Carrera (2017)
Selected bibliography:
Sociologia guatemalteca: el problema social del Indio, 1923 - Guatemalan Sociology: The Social Problem of the Indian (translated by Maureen Ahern, 1977)
Rayito de estrella, 1925 [Little Starbeam]
La Arquitectura de la Vida Nueva, 1928
Leyendas de Guatemala, 1930 [Legends of Guatemala]
Emulo lipolidón, 1935
Sonetos, 1936
Alclasán, 1939
Anoche, 10 de marzo de 1543, 1943
El Señor Presidente, 1946 - El Señor Presidente / The President (translated by Frances Partridge, 1963) - Herra Presidentti (suom. Pirkko Lokka, Pentti Saaritsa, 1966) - Film 1970, dir. Marcos Madanes, screenplay by Marcos Madanes, cast: Luis Brandoni, Alejandra Da Passano, Pedro Buchardo, Nelly Prono, Margarita Corona
Sien de alondra, 1948
Poesía, 1949
Hombres de Maíz, 1949 - Men of Maize (translated by Gerald Martin, 1975)
Viento fuerte, 1950 - The Cyclone (translated by Darwin Flakoll and Claribel Alegría, 1967) / Strong Winds (translated by Gregory Rabassa, 1968)
Ejercicios poéticos en forma de soneto sombre temas de Horacio, 1951
Carta aérea a mis amigos de América, 1952
El papa verde, 1954 - The Green Pope (translated by Gregory Rabassa, 1971)
Bolívar, 1955
Obras escogidas, 1955 (3 vols.)
Soluna, 1955 - Film 1969, dir. Marcos Madanes, starring Luis Medina Castro, Dora Baret, Héctor Carrión, Mikaela, David Llewelyn
Week-end en Guatemala, 1956 - Weekend Guatemalassa (suom. Pentti Saaritsa, 1968)
La audiencia de los confines, 1957
Nombe custodio, e Imagen pasajera, 1959
Los ojos de los enterrados, 1960 - The Eyes of the Interred (translated by Gregory Rabassa, 1974)
El alhajadito, 1961 - The Bejeweled Boy (translated by Martin Shuttleworth, 1971)
Mulata de tal, 1963 - Mulatta (translated by Gregory Rabassa, 1967) / The Mulatta and Mr. Fly (translated by Gregory Rabassa, 1967)
Juan Girador, 1964
Teatro, 1964
Rumania, sua nueva imagen, 1964
Obras escogidas, 1964 (2 vols.)
Sonetos de Italia, 1965
Clarivigilia primaveral, 1965
El espejo de Lida Sal, 1967 - The Mirror of Lida Sal: Tales Based on Mayan Myths and Guatemalan Legends (translated by Gilbert Alter-Gilbert, 1997)
Torotumbo, La audiencia de los confines; Mensajes indios, 1968
Latinoamérica y otros ensyaos, 1968
Antología, 1968
Obras completas, 1968 (3 vols.)
Maladrón, 1969
Comiendo en Hungaría, 1969 (with Pablo Neruda) - Sentimental Journey around the Hungarian Cuisine (translated by Barna Balogh, 1969)
Novelas y cuentos de juventud, 1971
En novelista en la universidad, 1971
The Talking Machine, 1971 (translated by Beverly Koch)
Viernes de dolores, 1972 [Good Friday]
Juárez, 1972
América, fábula de fábulas y otros ensayos, 1972
Mi mejor obra, 1974
Tres obras, 1977
Tres de cuatro soles, 1977
Edición crítica de las obras completas, 1977 (24 vols.)
Actos de fe en Guatemala, 1980 (photographs by Sara Facin and María Christina Orive)
Sinceridades, 1980 (edited by Epaminondas Quintana)
Viajes, ensayos y fantasías, 1981
El hombre que lo tenía todo, todo, todo, 1981 (illustrated by Jacqueline Duheme)
Paris 1922-1923, 1988
Cartas de amor, 1989 (ed. Felipe Mellizo)
París 1924-1933: periodismo y creación literaria, 1996 (ed. Amos Segala)
Teatro, 2003 (ed. Lucrecia Méndez de Penedo)
Sociología guatemalteca: el problema social del indio, 2007 (edición e introducción Julio César Pinto Soria; originally published in 1923)
Legends of Guatemala, 2011 (translated by Kelly Washbourne)
Week-end en Guatemala, 2013 (introducción, edición crítica y notas de Dora Sales)
Hombres de maíz, 2014 (edición de José Mejía)
Some rights reserved Petri Liukkonen (author) & Ari Pesonen. 2008-2020.
|
||||||||
correct_award_00058
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FactBench
|
1
| 53
|
https://www.csmonitor.com/Books/2010/1007/Nobel-Prize-in-Literature-Which-Latin-American-writers-have-won/Miguel-Angel-Asturias-Guatemala-1967
|
en
|
Nobel Prize in Literature: Which Latin American writers have won?
|
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[
"Nora Dunne",
"The Christian Science Monitor"
] |
2010-10-07T14:47:00-04:00
|
Mario Vargas Llosa is the first Latin American to win the honored literary prize in 12 years. Of the 102 awards presented since 1901, only eight have gone to Latin American writers.
|
en
|
/extension/csm_base/design/standard/images/favicon.ico
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The Christian Science Monitor
|
https://www.csmonitor.com/Books/2010/1007/Nobel-Prize-in-Literature-Which-Latin-American-writers-have-won/Miguel-Angel-Asturias-Guatemala-1967
|
Why is Christian Science in our name?
Our name is about honesty. The Monitor is owned by The Christian Science Church, and we’ve always been transparent about that.
The Church publishes the Monitor because it sees good journalism as vital to progress in the world. Since 1908, we’ve aimed “to injure no man, but to bless all mankind,” as our founder, Mary Baker Eddy, put it.
Here, you’ll find award-winning journalism not driven by commercial influences – a news organization that takes seriously its mission to uplift the world by seeking solutions and finding reasons for credible hope.
Explore values journalism About us
|
||||
correct_award_00058
|
FactBench
|
2
| 91
|
https://secondchances636.wordpress.com/2023/12/11/total-totalitarianism-mr-president-el-senor-presidente-by-miguel-angel-asturias-1946/
|
en
|
Total Totalitarianism: Mr. President (El Senor Presidente) By Miguel Angel Asturias (1946).
|
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"Fredda Katcoff"
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2023-12-11T00:00:00
|
Reading a handful of Latin American novels scarcely makes me an expert, but it's hard not to detect some common threads in the literature south of the border. These range from the continuing influence of the Catholic Church; the omnipresence of abject poverty; a culture of machismo that generates misogany and homophobia; the residual impact…
|
en
|
https://s1.wp.com/i/favicon.ico
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Second Chances
|
https://secondchances636.wordpress.com/2023/12/11/total-totalitarianism-mr-president-el-senor-presidente-by-miguel-angel-asturias-1946/
|
Reading a handful of Latin American novels scarcely makes me an expert, but it’s hard not to detect some common threads in the literature south of the border. These range from the continuing influence of the Catholic Church; the omnipresence of abject poverty; a culture of machismo that generates misogany and homophobia; the residual impact of colonialism; racial prejudices and persecution of indigenous people; and the existence of oppressive regimes led by ruthless and self-serving dictators. It’s no accident that many of the Latin American writers that we have examined and will examine have ended up in exile. This sorry history of totalitarian government has shaped Latin American literature so heavily that even genre Latin American crime fiction bears its imprint. See https://secondchances636.wordpress.com/2023/12/11/nightmare-in-nicaragua-the-managua-trilogy-the-sky-weeps-for-me-2008-no-one-weeps-for-me-now-2017-and-dead-men-cast-no-shadows-2021-by-sergio-ramirez/
Mr. President is an example of the literature of totalitarianism written while its Guatamalen author, Miguel Angel Asturias, was in exile in Paris. (His activism impelled him to leave his homeland,) To impart universality, Asturias neither names the dictator in Mr. President or even the country that quakes under his oppression. However, Mr. President is said to be modeled upon Manuel Estarada Cabrera, who presided over Guatamala with an iron fist (and, not surprisingly, American support) from 1898-1920. Asturias completed Mr. President while in Paris in 1933 but serial dictatorship in Guatama prevented its publication for another thirteen years.
The actual plot of Mr. President is simple. Colonel Jose Parales Sonriente, a favored operative of Mr. President, is murdered in the El Senor Portal. The events that follow display Mr. President’s wrath, vengefulness, and craftiness. The President exploits the death to punish political enemies, blaming the the murder on the blameless General Eusebio Canales and his lawyer Abel Carvajal. The President enlists another favorite, the handsome Miguel Angel Face, to warn Canales of his impending arrest to push Canales to flee, flight that Mr. President will use as an admission of guilt on the part of the innocent officer. Angel Face, meanwhile, hopes to use this mission for a personal purpose, to abduct and seduce the General’s beautiful daughter, Camila. Instead, Angel Face falls in love with Camila and marries her. Others become ensnared in this web. The Judge Advocate tortures a group of beggars who frequent the Portal where the Colonel was killed to implicate Canales and Carvajal instead of one of their own number, Pelele, known as the Dimwit, the actual culprit. Angel Face, meanwhile, informs secret service officer Lucio Vasquez about his abduction plan. Vasquez confides the abduction plan to his friend Genaro Rodas, who shares this plot with his wife Fedina. Vasquez kills the Dimwit at Mr. President’s orders, a murder that Rodas witnesses.
The novel pictures the oppression that suffuses totalitarian regimes. Dictators rule through intimidation and brutality. Torture is used to extract phony confessions–men hang from thumbs, are lashed even to death, and in one case sealed in a brick cell to die of thirst. Citizens are jailed for trivial reasons–a sexton is imprisoned for removing a poster announcing the birthday of Mr. President’s mother–and Carvajal for no reason at all, the Judge Advocate being an expert at fabricating charges. Carvajal is later executed without even the benefit of a show trial. Indeed, everyone who has some relation to the murders of the Colonel and Dimwit suffers some form of punishment. Fedina is put to forced labor and imprisoned. Rodas undergoes lashing merely for witnessing the Dimwit’s death. Vasquez is executed for killing the Dimwit as Mr. President’s order instructing him to do so has conveniently disappeared. Even the Portal itself is dismantled.
In this realm, fear warps interpersonal relations. Servants and prostitutes, businessmen and officials, hope to shield themselves by becoming informants, offering up details that are sometimes true but more often false. The disfavored are scorned. Camila’s relatives deny her refuge after her father’s flight. Asturias refers to Mr President as Tochil, the Mayan god of fire. Tohil is a deity that demands blood sacrifice, a fitting emblem for a ruler that preys on the populace. In this way, citizens are simultaneously victims of terror and collaborators in its commission.
This regime even weaponizes love, psychological torture going hand-in-hand with brutality. As General Canales in exile begins to organize a resistance, Mr. President publishes an announcement of the wedding between Camila and Angel Face and broadcasts Mr. President’s attendance although the wedding was, in fact, private, attended only by a priest. Upon reading this news, the General dies of a broken heart. When Angel Face himself is jailed, Mr. President plants a false story that Camila has become Mr. President’s mistress. With his sole reason to live destroyed, Angel Face dies in prison. In another form of psychological torture, Mr. President toys with his victims before consuming them. Vasquez believes that Mr. President’s order will protect him from responsibility for the death of the Dimwit and is incredulous when it does not. Mr. President informs Angel Face that he needs him to to travel to the United States as a spy. Angel Face is given train and boat tickets and a bundle of cash. Mr. President’s minions arrest him as he is about to board ship nearly out of the country.
This world of terror has victims and collaborators. It also has supporters The wealthy elite sustain the tyranny, sychophants to Mr. President, and the regime feeds the wealthy by allowing them to steal land from indigenous people. The United States, bolsters Mr. President, uncaring about his oppression of the population and the rigged elections that keep him in power.
The world of Mr. President, like Dante’s Inferno, purges hope. As the Judge Advocate explains to his servant, “The President insists you should not offer hope–you should step on people no matter what.” The Judge Advocate adheres to this principle time and again, perhaps most horrifically in the case of Fedina. The Judge Advocate refuses to allow Fedina to feed her baby to coerce her to confess to involvement in Canales’ escape. Fedina hews to the truth and insists upon her innocence. Her reward is the death of her child, who has starved to death in the meantime. Taking the child’s death as proof of innocence, the Judge Advocate releases her from prison by selling her to a brothel, but the child’s death has driven her mad and she ends up in an insane asylum. One glimmer of an exception to this world of hopelessness and indecency flickers in the countryside. As the General flees through the countryside, he is aided by three sisters; in thanks he kills the doctor who is threatening to steal their home. Following the deaths of her father and husband and her abandonment by her relatives, Camila and her newborn son find sanctuary in the countryside after she glimpses a vision of frolicking foals and fillies, suckling lambs, and tender calves nuzzling “the spigots of happiness of their mother’s udder.” It is a vision of “life reborn.”
Asturias is considered a father of magical realism, although the surrealism is limited to hallucinagenic dreams. What is truly magical is the writing, which deftly uses literary devices including pointed similes, repetitions, personification, and extended onomotapeias. The imagery often has a religious cast and overtones of death–a motif of the city in contract to the “life reborn” that Camila eventually enjoys in the country. A wind extinguishes a candle; “the flame seemed to cross itself as it went out.” “Streetlights eyes close one by one and dew dripped from the roofs like nails about to crucify drunks or refasten coffin lids.” When Angel Face knocks on the door to the home of Camila’s uncle to persaude him to take Camila in, his knocks are ignored by all except the house and the inanimate objects it contains:
The whole house wants to go out like a body shaking in an earthquake to see who is knocking, knocking, and knocking on the door-knocker; casseroles casseroling, flower pots dancing sinuously, pails pailing! pailing! plates with a china cough, cups, silverware sprayed like the laughter of German silver, empty bottles preceded by a bottle dripping candle-wax tears that serves and doesn’t serve as a candlestick in the furthest room….
And when Angel Face embarks on the train, heading for the ship that he believes will take him to America, his glimpses of the sights outside the window mimic the rhythmic chugging of the train, “One after the other, one after the other, one after the other…the house chased the tree, the tree chased the fence, the fence a bridge, the bridge the road, the road a river, the river the mountain, the mountain the cloud….” Naturally, the translator David Unger, bears equal credit.
Asturias received the Nobel Prize for Literature in 1967. Although Guatemala now has a fragile democratic government, authoritarian and military rule persisted, with the exception of a short-lived revolution, for decades after the publication of Mr. President. Beginning in 1960, Guatamala experienced a 36 year civil war between government and leftist forces. The war was punctuated by genocidal massacres of the indigenous population. The country further suffered from intermittent corruption scandals. Poverty remains entrenched. Guatamala has the third highest rate of femicide in the world.
A second chance to Asturias and Mr. President. No second chance to totalitarianism although it seems to be having a second chance at the current moment, albeit not in Guatamala.
|
||||
correct_award_00058
|
FactBench
|
3
| 65
|
https://www.newworldencyclopedia.org/entry/Guatemala
|
en
|
New World Encyclopedia
|
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https://static.newworldencyclopedia.org/favicon.ico
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https://www.newworldencyclopedia.org/entry/Guatemala
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República de Guatemala (Spanish)
Republic of Guatemala
Flag Coat of arms
Motto: El País de la Eterna Primavera
"Land of Eternal Spring" Anthem: Himno Nacional de Guatemala Capital
(and largest city) Guatemala City
14°38′N 90°30′W Official languages Spanish, 22 indigenous languages: Government Unitary Presidential republic - President Bernardo Arévalo - Vice President Karin Herrera Independence from Spain - Declared (independence from Spain) 15 September 1821 - Recognized by Spain 25 July 1850 - from the First Mexican Empire July 1, 1823 Area - Total 108,890 km² (105th)
42,042 sq mi - Water (%) 0.4 Population - 2023 estimate 17,980,803[1] - Density 129/km²
348.6/sq mi GDP (PPP) 2024 estimate - Total $213.134 billion[2] - Per capita $10,998[2] GDP (nominal) 2024 estimate - Total $111.384 billion[2] - Per capita $5,748[2] HDI (2021) 0.627[3] (medium) Currency Quetzal (GTQ) Time zone Central Time (UTC-6) Internet TLD .gt Calling code ++502
The Republic of Guatemala (Spanish: República de Guatemala, IPA: [re'puβlika ðe ɣwate'mala]), is a country in Central America bordered by Mexico to the northwest, the Pacific Ocean to the southwest, Belize and the Caribbean Sea to the northeast, and Honduras and El Salvador to the southeast.
The most populous nation in Central America, Guatemala is a representative democracy with its capital at Guatemala City. Although the nation has been relatively stable since 1996, Guatemala's recent history has been plagued by civil war and military coups, which have slowed the nation's development. Large portions of Guatemala's interior remain wholly undeveloped, including the nation's many rainforests and wetlands. Guatemala's abundance of biologically significant and unique ecosystems contribute to Mesoamerica's designation as an important biodiversity hotspot.
The country name comes from the Nahuatl Cuauhtēmallān, "place of many trees," a translation of K'iche' Mayan K’ii’chee’, "many trees" (that is, "forest").[4]
Geography
Guatemala is about the size of the U.S. state of Tennessee. About two thirds of Guatemala is mountainous, except for the south coastal area and the northern vast lowlands of the Petén department. Two mountain chains enter Guatemala from west to east, dividing the country into three major regions:
the highlands, where the mountains are located;
the Pacific coast, south of the mountains; and
the Petén region, north of the mountains.
All major cities are located in the highlands and Pacific coast regions; by comparison, Petén is sparsely populated. These three regions vary in climate, elevation, and landscape, providing dramatic contrasts between hot and humid tropical lowlands and colder and drier highland peaks. Volcán Tajumulco, at 4,220 meters, is the highest point in Central America.
The rivers are short and shallow in the Pacific region, larger and deeper, such as the Polochic which drains in Lake Izabal Río Dulce, (Motagua) and Sartún that forms the boundary with Belize in the Caribbean and the Gulf of Mexico region (Usumacinta, which forms the boundary between Chiapas, Mexico and Petén and its tributaries such as La Pasión and San Pedro.
Natural disasters
Guatemala's location on the Caribbean Sea and Pacific Ocean makes it a target for hurricanes, such as Hurricane Mitch in 1998 and Hurricane Stan in 2005, which killed more than 1,500 people. Much of the damage was not wind related, but rather due to significant flooding and landslides.
Guatemala's highlands lie atop the boundary between the Caribbean and North American tectonic plates, and thus are subject to frequent earthquakes and volcanic activity. Guatemala has 37 volcanoes, four of them active: Pacaya, Santiaguito, Fuego and Tacaná. The last major earthquake was in February 1976, killing more than 25,000 in the Central Highlands.
On June 13, 2007 a 6.8 Magnitude earthquake hit the pacific coast of Guatemala, but there were no reports of death or major damage. It lasted for 30 seconds and was the second earthquake that occurred in a week. The one before was June 8, which was a 5.9 Magnitude earthquake.
Biodiversity
Guatemala has 14 eco-regions ranging from mangrove forest (four species), to both ocean littorals with five different ecosystems, dry forest and thorn bushes in the Eastern Highlands, subtropical and tropical rain forest, wetlands, cloud humid forest in the Verapaz region, mix and pine forest in the Highlands. Over 36 percent, or about 39,380 km² of Guatemala is forested. Of this, 49.7 percent or roughly 19,570 km² is classified as primary forest, the most biodiverse form of forest, including 17 Conifer (pine, cypress and the endemic Abies Guatemalensis) species, the most in any tropical region of the world.
There are 252 listed wetlands in the country, including five lakes, 61 lagoons, 100 rivers, and three swamps. Six of those wetlands are of international importance or RAMSAR sites. Tikal National Park was the first mixed UNESCO World Heritage Site in the world, inscribed according to both natural and cultural criteria.[5]
Guatemala has some 1,246 known species of amphibians, birds, mammals and reptiles according to figures from the World Conservation Monitoring Centre. Of these, 6.7 percent are endemic, meaning they exist in no other country, and 8.1 percent are threatened species. Guatemala is home to at least 8,681 species of vascular plants, of which 13.5 percent are endemic. 5.4 percent of Guatemala is protected under IUCN categories I-V and has the largest percentage of Protected areas in Central America, with a total of 91 protected areas and more than 30 percent of the territory as a protected area. [6]
History
Pre-Columbian
Archaeologists divide the pre-Columbian history of Mesoamerica into three periods: The Pre-Classic from 2000 B.C.E. to 250 C.E., the Classic from 250 to 900 C.E., and the Post-Classic from 900 to 1500 C.E. Until recently, the Pre-Classic was regarded as a formative period, with small villages of farmers who lived in huts, and few permanent buildings, but this notion has been challenged by recent discoveries of monumental architecture from that period, such as an altar in La Blanca, San Marcos, some three meters in diameter, dating from 1000 B.C.E., ceremonial sites at Miraflores and El Naranjo from 800 B.C.E., and the Mirador Basin cities of Nakbé, Xulnal, Tintal, Wakná and El Mirador.
El Mirador was by far the most populated city in the pre-Columbian America, and contained the largest pyramid in the world, at 2,800,000 cubic meters in volume (some 200,000 more than the Great Pyramid of Giza in Egypt). Mirador was the first politically organized state in America, named the Kan Kingdom in ancient texts. There were 26 cities, all connected by highways, which were several kilometers long, up to 40 meters wide, and two to four meters above the ground, paved with stucco, that are clearly distinguishable from the air in the most extensive virgin tropical rain forest in Mesoamerica.
The Classic period of Mesoamerican civilization corresponds to the height of the Maya civilization, and is represented by countless sites throughout Guatemala, although the largest concentration is in Petén. This period is characterized by heavy city-building, the development of independent city-states, and contact with other Mesoamerican cultures.
This lasted until around 900 B.C.E., when, for reasons not understood by archaeologists, the Maya went into decline and abandoned many of the cities of the central lowlands. The Post-Classic period is represented by regional kingdoms such as the Itzá and Ko'woj in the Lakes area in Petén, and the Mam, Ki'ch'es, Kack'chiquel, Tz'utuh'il, Pokom'chí, Kek'chi and Chortí in the Highlands. These cities preserved many aspects of Mayan culture, but would never equal the size or power of the Classic cities.
Colonial
After discovering the New World, the Spanish mounted several peaceful expeditions to Guatemala beginning in 1518. Before long, Spanish contact resulted in an epidemic that devastated native populations (believed to be smallpox, based on the description in the "Memorial de Sololá."
Hernándo Cortés, who had led the Spanish conquest of Mexico, granted a permit to Captain Pedro de Alvarado, to conquer this land. Alvarado at first allied himself with the Cakchiquel nation to fight against their traditional rivals, the Quiché nation. Alvarado later turned against the Cakchiquels, and eventually held the entire region under Spanish domination.
During the colonial period, Guatemala was a Captaincy General of Spain, and a part of New Spain (Mexico). It extended from the Soconusco region - now in southern Mexico (states of Chiapas, Tabasco) - to Costa Rica. This region was not as rich in (gold and silver) as Mexico and Peru, and was therefore not considered to be as important. Its main products were sugarcane, cocoa, blue añil dye, red dye from cochineal insects, and precious woods used in artwork for churches and palaces in Spain.
The first capital was named Tecpan Guatemala, founded in 1524 with the name of Villa de Santiago de Guatemala and was located near Iximché, the Cakchiquel's capital city. It was moved to Ciudad Vieja in November 1527, when the Cakchiquel attacked the city. In 1541 the city was flooded when the lagoon in the crater of the Agua Volcano collapsed due to heavy rains and earthquakes, and was moved 4 miles to Antigua Guatemala, on the Panchoy Valley, now a UNESCO World Heritage Site. This city was destroyed by several earthquakes in 1773-1774, and the King of Spain granted the authorization to move the Captaincy General to the Ermita Valley, named after a Catholic Church to the Virgen de El Carmen, in its current location, founded in January 2, 1776.
Independence
On September 15, 1821, Guatemala declared itself independent from Spain, and on October 3, 1821, the Captaincy-General of Guatemala, (formed by Chiapas, Guatemala, El Salvador, Nicaragua, Costa Rica and Honduras) officially proclaimed its independence from Spain and its incorporation into the Mexican Empire. This region had been formally subject to New Spain throughout the colonial period, but as a practical matter was administered separately. All but Chiapas soon separated from Mexico after Agustín I from Mexico was forced to abdicate.
The Guatemalan provinces formed the United Provinces of Central America, also called the Central American Federation (Federacion de Estados Centroamericanos).
Guatemala has long claimed all or part of the territory of neighboring Belize, formerly part of the Spanish colony, and currently an independent Commonwealth Realm which recognizes Queen Elizabeth II of the United Kingdom as its Head of State. Guatemala recognized Belize's independence in 1990, but their territorial dispute is not resolved. Negotiations are currently underway under the auspices of the Organization of American States and the Commonwealth of Nations to conclude it. [7]
The Modern fight for a nation
On July 4, 1944, dictator Jorge Ubico Castañeda was forced to resign office in response to a wave of protests and a general strike. His replacement, General Juan Federico Ponce Vaides, was forced out of office on October 20, 1944 by a coup d'état led by Major Francisco Javier Arana and Captain Jacobo Arbenz Guzmán. About 100 people were killed in the coup. The country was then led by a military junta made up of Arana, Arbenz, and Jorge Toriello Garrido. The Junta called Guatemala's first free election, which was won with a majority of 85 percent by the prominent writer and teacher Juan José Arévalo Bermejo, who had lived in exile in Argentina for 14 years. Arévalo was the first democratically elected president of Guatemala to fully complete the term for which he was elected. His "Christian Socialist" policies, inspired by the U.S. New Deal, were criticized by landowners and the upper class as "communist."
This period was also the beginning of the Cold War between the U.S. and the Soviet Union, which was to have a considerable influence on Guatemalan history. From the 1950s through the 1990s, the U.S. government directly supported Guatemala's army with training, weapons, and money in an effort to stem the spread of communism in the region.
In 1954, Arévalo's freely elected Guatemalan successor, Jacobo Arbenz, was overthrown by the U.S. Central Intelligence Agency (CIA) and a small group of Guatemalans (landowners, the old military caste, and the Catholic Church), after the government instituted a decree which expropriated large tracts of land owned by the United Fruit Company, a U.S.-based banana merchant (Chiquita Banana). The CIA codename for the coup was Operation PBSUCCESS (it was the CIA's second successful overthrow of a foreign government after the 1953 coup in Iran). Colonel Carlos Castillo Armas was installed as president in 1954 and ruled until he was assassinated by a member of his personal guard in 1957.
In the election that followed, General Miguel Ydígoras Fuentes assumed power. Ydigoras authorized the training of 5,000 anti-Castro Cubans in Guatemala. He also provided airstrips in the region of Petén for what later became the failed Bay of Pigs Invasion in 1961. Ydigoras' government was ousted in 1963 when the Air Force attacked several military bases. The coup was led by his Defense Minister, Colonel Enrique Peralta Azurdia.
In 1966, Julio César Méndez Montenegro was elected president of Guatemala under the banner "Democratic Opening." Mendez Montenegro was the candidate of the Revolutionary Party, a center-left party which had its origins in the post-Ubico era. It was during this time that rightist paramilitary organizations, such as the "White Hand" (Mano Blanca), and the Anticommunist Secret Army, (Ejército Secreto Anticomunista), were formed. Those organizations were the forerunners of the infamous "Death Squads." Military advisers of the United States Army Special Forces (Green Berets) were sent to Guatemala to train troops and help transform its army into a modern counter-insurgency force, which eventually made it the most sophisticated in Central America.
In 1970, Colonel Carlos Manuel Arana Osorio was elected president. A new guerrilla movement entered the country from Mexico, into the Western Highlands in 1972. In the disputed election of 1974, General Kjell Lauguerud García defeated General Efraín Ríos Montt, a candidate of the Christian Democratic Party, who claimed that he had been cheated out of a victory through fraud.
On February 4, 1976, a major earthquake destroyed several cities and caused more than 25,000 deaths. In 1978, in a fraudulent election, General Romeo Lucas García assumed power. The 1970s saw the birth of two new guerrilla organizations, The Poor Guerrilla Army (EGP) and the Organization of the Peoples in Arms (ORPA), who began and intensified by the end of the 1970s guerrilla attacks that included urban and rural guerrilla warfare, mainly against the military and some of the civilian supporters of the army. In 1979, the United States president, Jimmy Carter, ordered a ban on all military aid to the Guatemalan Army because of the widespread and systematic abuse of human rights. Almost immediately, the Israeli Government took over supplying the Guatemalan Army with advisers, weapons and other military supplies.
In 1980, a group of Quiché Indians took over the Spanish Embassy to protest army massacres in the countryside. The Guatemalan government launched an assault that killed almost everyone inside as a result of a fire that consumed the building. The Guatemalan government claimed that the activists set the fire and immolated themselves. However, the Spanish ambassador, who survived the fire, disputed this claim, noting that the Guatemalan police intentionally killed almost everyone inside and set the fire to erase traces of their acts. As a result of this incident, the government of Spain broke diplomatic relations with Guatemala. This government was overthrown in 1982. General Efraín Ríos Montt was named President of the military junta, continuing the bloody campaign of torture, disappearances, and "scorched earth" warfare. The country became a pariah state internationally. Ríos Montt was overthrown by General Óscar Humberto Mejía Victores, who called for an election of a national constitutional assembly to write a new constitution, leading to a free election in 1986, which was won by Vinicio Cerezo Arévalo, the candidate of the Christian Democracy Party.
In 1982, the four guerrilla groups, EGP, ORPA, FAR and PGT, merged and formed the URNG, influenced by the Salvadoran guerrilla FMLN, the Nicaraguan FSLN and Cuba's government, in order to become stronger. As a result of the army's "scorched earth" tactics in the countryside, more than 45,000 Guatemalans fled across the border to Mexico. The Mexican government placed the refugees in camps in Chiapas and Tabasco.
In 1992, the Nobel Peace Prize was awarded to Rigoberta Menchú for her efforts to bring international attention to the government-sponsored genocide against the indigenous population.
The bloody 35-year old war of repression ended in 1996 with a peace accord between the guerrillas and the government of President Álvaro Arzú, negotiated by the United Nations through intense brokerage by nations such as Norway and Spain. Both sides made major concessions. The guerrilla fighters disarmed and received land to work. According to the U.N.-sponsored truth commission (styled the "Commission for Historical Clarification"), government forces and state-sponsored paramilitaries were responsible for over 93 percent of the human rights violations during the war.[8]
During the first ten years, the victims of the state-sponsored terror were primarily students, workers, professionals, and opposition figures, but in the last years they were thousands of mostly rural Mayan farmers and non-combatants. More than 450 Mayan villages were destroyed and over one million people became internal and external refugees. In certain areas, such as Baja Verapaz, the Truth Commission considered that the Guatemalan state engaged in an intentional policy of genocide against particular ethnic groups during the Civil War.[8] In 1999, U.S. president Bill Clinton stated that the United States was wrong to have provided support to Guatemalan military forces that took part in the brutal civilian killings. [9]
Since the peace accords, Guatemala has witnessed successive democratic elections. The past government has signed free trade agreements with the rest of Central America through CAFTA, and other agreements with Mexico. In the 2007 elections, El Partido Nacional de la Esperanza and its president candidate Álvaro Colom won the presidency as well as the majority of the seats in congress.
Politics
Guatemala's politics take place in a framework of a presidential representative democratic republic, whereby the President of Guatemala is both head of state and head of government, and of a pluriform multi-party system. Though not written into the constitution, the vice president acts in the capacity of a prime minister, while the president deals only with foreign affairs. This is regularly observed as the vice president stands in for the president in many events that are traditionally presided by the President of the Republic. Executive power is exercised by the government. Legislative power is vested in both the government and the Congress of the Republic. The judiciary is independent of the executive and the legislature.
Guatemala's 1985 Constitution provided for a separation of powers among the executive, legislative, and judicial branches of government. The 1993 constitutional reforms included an increase in the number of Supreme Court justices from 9 to 13.[10] The terms of office for president, vice president, and congressional deputies were reduced from five years to four years; for Supreme Court justices from six years to five years, and increased the terms of mayors and city councils from 30 months to four years.
Executive branch
The president and vice president are directly elected through universal suffrage and limited to one term. A vice president can run for president after four years out of office.
Legislative branch
The Congress of the Republic (Congreso de la República) has 158 members, elected for a four-year term, partially in departmental constituencies and partially by nationwide proportional representation.
Judicial branch
The Constitutional Court (Corte de Constitucionalidad) is Guatemala's highest court. It is composed of five judges, elected for concurrent five-year terms by Congress, each serving one year as president of the Court: one is elected by Congress, one elected by the Supreme Court of Justice, one is appointed by the President, one is elected by Superior Council of the Universidad San Carlos de Guatemala, and one by the bar association (Colegio de Abogados);
The Supreme Court of Justice (Corte Suprema de Justicia) comprises 13 members who serve concurrent five-year terms and elect a president of the Court each year from among their number. The president of the Supreme Court of Justice also supervises trial judges around the country, who are named to five-year terms).
Political parties and elections
Political parties in Guatemala are generally numerous and unstable. No party has won the presidency more than once and in every election period the majority of the parties are small and newly-formed. Even the longer-lived parties, such as the Christian Democrats (DC) or the URNG, tend to last less than a decade as significant forces in Guatemalan politics.
Economy
Guatemala's economy is dominated by the private sector, which generates about 85 percent of GDP. Agriculture contributes 23 percent of GDP and accounts for 75 percent of exports. Most manufacturing is light assembly and food processing, geared to the domestic, U.S., and Central American markets. Over the past several years, tourism and exports of textiles, apparel, and nontraditional agricultural products such as winter vegetables, fruit, and cut flowers have boomed, while more traditional exports such as sugar, bananas, and coffee continue to represent a large share of the export market.
The United States is the country's largest trading partner. The government sector is small and shrinking, with its business activities limited to public utilities—some of which have been privatized—ports and airports and several development-oriented financial institutions. Guatemala was certified to receive export trade benefits under the United States' Caribbean Basin Trade and Partnership Act (CBTPA) in October 2000, and enjoys access to U.S. Generalized System of Preferences (GSP) benefits. Due to concerns over serious worker rights protection issues, however, Guatemala's benefits under both the CBTPA and GSP are currently under review.
The 1996 peace accords that ended the decades-long civil war removed a major obstacle to foreign investment. Another economically important factor is the remittances from Guatemalans working abroad. However, the country still suffers from high foreign indebtedness.
In March 2005, despite massive street protests, Guatemala's congress ratified the Dominican Republic-Central American Free Trade Agreement (DR-CAFTA) between several Central American nations and the United States. Guatemala also has free trade agreements with Taiwan and Colombia.
Problems hindering economic growth include high crime rates, illiteracy and low levels of education, and an inadequate and underdeveloped capital market. They also include lack of infrastructure, particularly in the transportation, telecommunications, and electricity sectors, although the state telephone company and electricity distribution were privatized in 1998. The distribution of income and wealth remains highly skewed. The wealthiest 10 percent of the population receives almost one-half of all income, while the top 20 percent receives two-thirds of all income. As a result, approximately 80 percent of the population lives in poverty, and two-thirds of that number live in extreme poverty. Guatemala's social indicators, such as infant mortality and illiteracy, are among the worst in the hemisphere.
Demographics
Guatemala is composed of two main ethnic groupings, Mestizos, and Ladinos. Mestizos are the descendants of Amerindians while Ladinos are of Hispanic-Amerindian origins and adopt Western ways of life. Amerindians comprise about 45 percent of the population. Ladinos (primarily of Spanish, but also those of German, British, Italian, and Scandinavian descent) comprise 55 percent of the population. They are the more influential group in political and economic circles, comprising the majority of the urban population in Guatemala.
Though most of Guatemala's population is rural, urbanization is accelerating. Guatemala City is expanding at a rapid rate, and Quetzaltenango, the second largest city, is growing as well. Rural-to-urban migration is fueled by a combination of government neglect of the countryside, low farm gate prices, oppressive labor conditions on rural plantations, the high concentration of arable land in the hands of a few wealthy families, and the (often unrealistic) perception of higher wages in the city.
Over the course of the twentieth century the population of the country grew, and now has one of the highest growth rates in the Western Hemisphere. The ever-increasing pattern of emigration (legal and illegal) to the United States has led to the growth of Guatemalan communities in California, Florida, Illinois, New York, Texas and elsewhere since the 1970s, numbering by some estimates as many as one million. The years of Guatemalan civil war, as well as continual poverty, caused this Guatemalan diaspora.
Culture
Large divisions exist in the daily life of Guatemala. The division between rich and poor is glaring. Guatemala City is home to families that live similar lives to their counterparts in Europe, while outside the capital city, Indians live lives that have changed very little over the course of the last few centuries.
Guatemala City is home to many of the nation’s libraries and museums, including the National Archives, the National Library, and the Museum of Archeology and Ethnology, which has an extensive collection of Mayan artifacts. There are private museums, such as the Ixchel, which focuses on textiles, and the Popol Vuh, which focuses on Mayan archeology. Both museums are housed inside the Universidad Francisco Marroquín campus. Nearly all of the 329 municipalities in the country have a small museum.
Literature
The Guatemala National Prize in Literature is a one-time only award that recognizes an individual writer's body of work. It has been given annually since 1988 by the Ministry of Culture and Sports.
Miguel Angel Asturias, won the Literature Nobel Prize in 1966 for the Rabinal Achí, a Maya Kek'chi' play. The play was declared a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO. [11]
Language
Although Spanish is the official language, it is not universally spoken among the indigenous population, nor is it often spoken as a second language. Twenty-one distinct Mayan languages are spoken, especially in rural areas, as well as several non-Mayan Amerindian languages, such as the indigenous Xinca, and Garifuna, an Arawakan language spoken on the Caribbean coast. According to Decreto Número 19-2003, there are 23 officially recognized Amerindian languages.[1]
The Peace Accords signed in December 1996 provide for the translation of some official documents and voting materials into several indigenous languages and mandate the provision of interpreters in legal cases for non-Spanish speakers. The accord also sanctioned bilingual education in Spanish and indigenous languages. It is common for indigenous Guatemalans to learn or speak between two to five of the nation's other languages, including Spanish.
Religion
Catholic Christianity was the only religion during the colonial era. However, Protestantism has increased markedly in recent decades, especially under the reign of dictator and evangelical pastor General Efraín Ríos Montt. More than one third of Guatemalans are Protestant, chiefly Evangelicals and Pentecostals.
The predominant religion is Catholicism. Protestantism and traditional Mayan religions are practiced by an estimated 33 percent and one percent of the population, respectively. It is common for traditional Mayan practices to be incorporated into Christian ceremonies and worship, a phenomenon known as syncretism.
The practice of traditional Mayan religion is increasing as a result of the cultural protections established under the peace accords. The government has instituted a policy of providing altars at every Mayan ruin found in the country so that traditional ceremonies may be performed there. There are also small communities of Jews, Muslims, and members of other faiths.
Education
The government runs a number of public elementary and secondary-level schools. These schools are free, though the cost of uniforms, books, supplies, and transportation makes them less accessible to the poorer segments of society. Many middle and upper-class children go to private schools. The country also has one public university (Universidad de San Carlos de Guatemala), and nine private ones. Guatemala has the lowest literacy rate in Central America; the problem of illiteracy poses a great challenge for Guatemala's future growth.
Notes
References
ISBN links support NWE through referral fees
Campbell, Lyle. American Indian Languages: The Historical Linguistics of Native America. Oxford: Oxford University Press, 1997. ISBN 978-0195094275
Grandin, Greg. The Blood of Guatemala: A history of race and nation. Durham, NC: Duke University Press, 2000. ISBN 0822324954
Human Rights Office of Archidiocese of Guatemala. Guatemala, Never Again! Maryknoll, NY: Orbis Books, 1999. ISBN 157075294X
O'Kane, Trish. Guatemala in Focus: A Guide to the People, Politics and Culture. London: Latin America Bureau, 1998. ISBN 978-1566562423
Woodward, Ralph L. A Short History of Guatemala. La Antigua, Guatemala: Editorial Laura Lee, 2008. ISBN 978-9992279724
All links retrieved June 20, 2024.
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FactBench
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1
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https://www.shakespeareanrag.com/nobel-prize-winner-miguel-angel-asturiass-classic-dictator-novel-mr-president-has-uncomfortable-resonances-in-our-modern-era/
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en
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Nobel Prize winner Miguel Ángel Asturias’s classic dictator novel Mr. President has uncomfortable resonances in our modern era – That Shakespearean Rag
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"Steven Beattie"
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2022-12-20T15:10:29-05:00
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en
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https://www.shakespeareanrag.com/nobel-prize-winner-miguel-angel-asturiass-classic-dictator-novel-mr-president-has-uncomfortable-resonances-in-our-modern-era/
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Rather than a work of prototypical magic realism, El Señor Presidente is more reflective of straightforward modernism.
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correct_award_00058
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FactBench
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0
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https://www.betweenthecovers.com/btc/reference_library/author/1002272
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Miguel Angel Asturias
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bio notes:
born: 10/19/1899
died: 6/9/1974
born as: Miguel Angel Asturias
nationality: Guatemala
Guatemalan poet, novelist, diplomat, and winner of the Nobel Prize for Literature in 1967. His writings combine the mysticism of the Maya with an epic impulse toward social protest. - Merriam-Webster's Encyclopedia of Literature
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correct_award_00058
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FactBench
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2
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https://www.newyorker.com/news/daily-comment/the-timely-return-of-a-dictator-novel
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The Timely Return of a Dictator Novel
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Graciela Mochkofsky writes about the Guatemalan author Miguel Ángel Asturias and a new English translation of his novel “El Señor Presidente,” known in English as “Mr. President,” by David Unger and published by Penguin Classics.
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The New Yorker
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https://www.newyorker.com/news/daily-comment/the-timely-return-of-a-dictator-novel
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The life of a writer is buoyed, fraught, consumed, or scarred by the drama of recognition. Most writers never achieve it. Some are ahead of their time and miss it. Others will not see their work published before they die. And some simply suffer from bad timing. The Guatemalan novelist Miguel Ángel Asturias was among the latter. He invented an entirely new literary language, feeding on European avant-garde movements of the nineteen-twenties, that combined political reality, myth, poetry, theatre, silent cinema, indigenous cultures, and dreams. It’s not as if he didn’t get rosettes: he was the first Latin American novelist to win the Nobel Prize in Literature, and one of only three writers to be awarded both a Nobel and the Lenin Peace Prize. But, “from the very moment” he received the Nobel, his “star began to wane, and he has never again been at the center of Latin American literary attention,” according to Gerald Martin, the Andrew W. Mellon Professor Emeritus of Modern Languages at the University of Pittsburgh and an expert on Asturias’s work.
Still, a formidable new English translation of his crucial work, the dictator novel “El Señor Presidente” —“Mr. President” in this edition—by the Guatemalan American writer David Unger, published in July by Penguin Classics, with an introduction by Martin, may return him to the status that is his due. This time, the story speaks not only to Latin America’s cycles of tyranny but to a United States and a Europe confronting, for the first time since it was published, in 1946, a new wave of authoritarian leaders on the rise.
Asturias was born in Guatemala City, in 1899, a year after President Manuel Estrada Cabrera took office. Estrada Cabrera ruled by terror, running a network of secret police, and persecuting, torturing, and killing political opponents, while delivering control of the country’s resources to the United Fruit Company, the American corporation that acted as a de-facto colonial power in Central America during the early and mid-twentieth century. Asturias’s father, a judge, opposed Estrada Cabrera’s abuses at the cost of his job and, when Asturias was a child, was sent to internal exile in a rural area, where the future writer first encountered indigenous cultures. Estrada Cabrera was finally ousted, in 1920, and was tried and sentenced. Asturias discovered the full brutality of Estrada Cabrera’s regime while working as a secretary for the tribunal that condemned him; Asturias was even with a group that interviewed the former dictator in prison. That experience informed a short story, “Political Beggars,” that Asturias wrote in the early twenties and which, in time, became the first chapter of “El Señor Presidente.”
After another dictator, General José María Orellana, seized power, in 1921, Asturias moved first to London and then to Paris, where he spent the next decade. He studied Popol Vuh, a sacred text of the Maya, at the Sorbonne, and connected with Surrealism and the avant garde. He met Picasso, James Joyce, Paul Valéry, Arthur Conan Doyle, and Jiddu Krishnamurti. Asturias did some of his best writing during that time: “Legends of Guatemala,” a collection of nine stories based on Mayan myths, which was published in Spanish in 1930, and, two years later, in a French translation with a preface by Valéry; a draft of “The Bejeweled Boy,” a novel that is also a memoir of his childhood; parts of the novel “Men of Maize,” which was eventually published in 1949; and “El Señor Presidente,” which he finished in 1932. Sergio Ramírez, Nicaragua’s best-known living writer and a former Vice-President of the country, told me that Asturias “transposed the experimentation of the Surrealist language into Spanish, just as Rubén Darío had done with the French language during the Modernist era.” He added that, in Paris, Asturias and Darío“discovered the atmosphere and reality of Latin America,” as have so many others from the region, the Cuban Alejo Carpentier and the Argentine Julio Cortázar, among them.
“El Señor Presidente” tells the story of an unnamed country ruled by an unnamed man, who makes very few appearances in the novel himself, but whose presence configures and dooms every breath of life in the country. Nothing, including dreams and inner feelings, escapes his touch. Everyone lives in terror. The story begins, in a stunningly poetic opening scene, with the accidental murder of a colonel who is close to the President, and the President’s decision to frame two men he wants to see dead—a retired general and a lawyer—for the colonel’s death. He tasks his confidant, Miguel Angel Face, with alerting the retired general to his imminent capture—the President plans to have him killed as he flees, an action he will point to as proof of the general’s guilt. The novel follows a number of other characters, including the general’s daughter, Camila, with whom Miguel Angel Face falls in love, tragically. But what makes “El Señor Presidente” a “tour de force of great originality,” as the Peruvian novelist Mario Vargas Llosa notes in a foreword to the new translation, is not its plot but its use of language, with invented words, songs, rhythms, and “astonishing metaphors”:
A drum beats where noses aren’t blown, tracing drumsticks in the wind academy, it is a drum . . . top, it isn’t a drum; it’s a handkerchief knocking on a door and the hand of a brass knocker! The knocks penetrate like drill bits, perforating all sides of the house’s intestinal silence . . . knock . . . knock . . . knock . . . house drum. Each house has its own door-knocker to call its dwellers and when it’s closed, they’re living death . . . shebang of the house . . . door . . . shebang of the house . . . The fountain water becomes all eyes when it hears the doorknockdrum angrily telling servants . . . “Knocking again!” and the walls echo back over and over again: “Knocking again! Go ooopen!” “Knocking again! Gooo ooopen! and the ashes grow restless, not able to stir the cat, the lookout, with a soft shiver sent behind the bars of the grate, and the roses grow agitated, innocent victims of the inflexibility of thorns, and mirrors speak lively like a rapt medium through the souls of the dead furniture: “Knocking! Gooo open!”
Asturias seemed bound for success. But Latin American dreams tend to soar and collapse as quickly as the continent’s commodities. A slump in the price of coffee worsened the economic crisis in Guatemala, making it, Martin writes, “impossible for middle-class Guatemalans to sustain themselves abroad,” and forcing Asturias to make an unhappy return home, in 1933. By then, the country was ruled by yet another dictator, Jorge Ubico, who remained in power for more than a decade. Stuck in Guatemala, Asturias did not publish any of his work during that time, including “El Señor Presidente,” which, though based on Estrada Cabrera, could easily have been read to refer to Ubico.
It wasn’t until after the Second World War, and after Asturias had published a Mexican edition of the novel to little notice, in 1946, and had moved to Argentina the following year, that he managed to get the book out to international acclaim. Recognition, however, did not equal comprehension: appearing in a completely different context from the one in which it was created, “El Señor Presidente” was cheered not as an extraordinary literary achievement but as an “engaged” (the Sartrean term then in vogue) exposé of Latin American injustice. Asturias himself contributed to this reading of his work by publishing three novels, sometimes called the “Banana Trilogy”—“Strong Wind” (1950), “The Green Pope” (1954), and “The Eyes of the Interred” (1960)—about the United Fruit Company’s nefarious role in Guatemala. When Argentina came under military rule in 1962, Asturias was forced to relocate again, this time to Italy. In 1966, he was awarded the Lenin Peace Prize for the “Banana Trilogy,” and he won the Nobel the next year, just as the Latin American Boom was booming.
The Boom was a period of almost two decades, the nineteen-sixties and seventies, during which a group of relatively young writers produced hugely innovative and influential work. Cortázar; Vargas Llosa; Gabriel García Márquez, of Colombia; and Carlos Fuentes, of Mexico, are its best-known authors, although there were many others. Asturias was their natural predecessor. To begin with, he is credited with the invention, especially in “Legends of Guatemala” and “Men of Maize,” of Latin American magical realism—a genre widely identified with the Boom, owing to García Márquez’s prominence in it—specifically as a way to depict the region’s sense of absurdity in confronting its reality. Martin, who is the author of a celebrated biography of García Marquez (and is at work on a biography of Vargas Llosa), asks in his prologue to “Mr. President”: “What is magical realism, if not the solution to writing novels about hybrid societies in which a dominant culture of European origin is juxtaposed in multiple ways with one or more different cultures that in many cases are ‘premodern’?” He concludes, “It was not Gabriel García Márquez who invented magical realism; it was Miguel Ángel Asturias.” “Guatemalans are a mestizo culture; we live between two cultures,” Lucrecia Méndez de Penedo, a Guatemalan literary scholar and critic who is a member of the Guatemalan Academy of the Language, told me. “Asturias lived in an indigenous rural area as a child. Through magical realism, he tried to explain this identity, which has been referred to as a ‘split identity.’ ”
“El Señor Presidente,” for its part, is widely considered to be the first Latin American dictator novel. (Some literary historians also cite “Tirano Banderas,” a 1926 novel about the demise of a dictator in a fictitious Latin American country, by the Spanish writer Ramón del Valle-Inclán.) The genre is quintessentially Latin American, and is explored in a number of works by Boom authors, such as Carpentier’s “El Recurso del Método” (1974), translated into English as “Reasons of State”), Augusto Roa Bastos’s “I, the Supreme” (1974), García Márquez’s “The Autumn of the Patriarch” (1975), and Vargas Llosa’s “The Feast of the Goat” (2000).
For all these reasons, Martin says, “El Señor Presidente” is “an archetypal Latin American novel,” and its first lines “are the first lines of the Boom.” And yet, many of the Boom authors, starting with García Márquez, dismissed Asturias’s work as archaic, and denied that it had any influence on their writing. Asturias didn’t help matters when, during an interview, he agreed with a suggestion that García Márquez, in “One Hundred Years of Solitude,” had been heavily influenced by Balzac’s “The Quest of the Absolute,” a comment for which he was widely denounced. He was also accused of political opportunism for serving as Guatemala’s Ambassador to France, from 1966 to ’70, under President Julio Méndez Montenegro, who was democratically elected but ended up conducting a repressive government. (Asturias thought the government offered a chance to save democracy in Guatemala, and had consulted with the exiled President Jacobo Árbenz about remaining in the position.) But Martin and Ramírez both say that part of the reason for the literary “parricide” was that the major figures of the Boom saw themselves as belonging to a completely new movement—one that had no precedent. Asturias died in Spain, in 1974, and was largely forgotten. According to Ramírez and Méndez de Penedo, his work is mostly read in Guatemala today only because it’s suggested reading in high school.
“El Señor Presidente” never had a big following in this country. It was first introduced to English-speaking audiences in 1962, as “The President,” in a translation by Frances Partridge, an English writer associated with the Bloomsbury Group. David Unger, who is a novelist, a poet, as well as a translator—and runs the publishing-certificate program at City College—told me that Partridge’s version is “full of Anglicisms,” and doesn’t feel authentic to Asturias’s voice. Francisco Goldman, a Guatemalan American author whose work includes the novel “Monkey Boy,” and who was a finalist for the 2022 Pulitzer Prize in fiction, agrees. “If I remember correctly,” he said, “she has the beggar shouting Cockney East End slang—something like, ‘Blimey, here come the coppers!’ ” There was also a problem, again, of timing: Partridge’s translation came out nearly twenty years after the book’s release, forty years after Asturias had begun writing it, and five years before he won the Nobel. And his anti-imperialism would not have been widely appreciated in the U.S. at the time. “The original translation predates everything we know in this country about what the C.I.A. did: the different coups it was responsible for in Iran, Guatemala, the Dominican Republic,” Unger said.
In 2014, Unger was awarded the Miguel Ángel Asturias National Prize in Literature for lifetime achievement, the most important literary prize in Guatemala. In gratitude, he decided to take on a new translation, in the hopes of giving Guatemala’s most important writer another chance of recognition in the U.S. He got a translation grant from the New York State Council on the Arts, and set to work. Once he had completed a few chapters, his agent, Andrea Montejo, contacted John Siciliano, the executive editor of Penguin Classics. Siciliano was interested, but rights issues meant that publication of Asturias’s work was, once again, delayed several years.
But the timing may finally be right. “I wanted the novel to really speak to our generation and our time,” Unger said. Esther Allen, a respected translator of Latin American literature into English, and a professor at Baruch College, told me that the choice to translate the title as “Mr. President” had surprised her. “ ‘Mr. President’ is specifically American,” she said, adding, “Nobody translates ‘Madame Bovary’ as ‘Mrs. Bovary.’ ” (It was Penguin’s decision, Siciliano told me, “because of the additional power it confers on the title character.”) Still, Allen ventured, when we spoke—the day before the final summer hearing of the January 6th committee—“ ‘Mr. President’ might work as an indictment: you Americans shouldn’t think this is foreign to you.”
A new wave of repressive regimes is also again taking hold in Central America, including in Guatemala, where there is an increasing crackdown on political dissent, and in Nicaragua. Sergio Ramírez was forced to leave that country a year ago, and, last September, the government of President Daniel Ortega—whom Ramírez had served under as Vice-President during his first Administration, after the Sandinista revolution had toppled the dictator Anastasio Somoza—issued a warrant for his arrest. (Ortega returned to office in 2007, and in the years since has himself become increasingly autocratic.) Ramírez now lives in Spain. A new batch of dictator novels is coming, he told me. These days, “We all have our ‘Señor Presidente.’ ” ♦
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Discovery Guatemala : Literature (Comics
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From conquest to exile
History turned to bloodshed and ashes when the man nicknamed "Sun" by the natives, because of his blond hair, set foot on the South American continent. After plundering Yucatán and Mexico, Pedro de Alvarado attacked Guatemala in 1523, but the Mayas bravely resisted him for four years. Ironically, it was in Antigua Guatemala that his body was laid to rest, at his daughter's request, after he lost his life in 1541 during another attempt to plunder the Spice Islands. The human massacre went hand in hand with a cultural massacre, as the Mayan codices that survived the auto-da-fé can be counted on the fingers of one hand. Fortunately, the memory of stones is harder to erase: a stele found at the Tak'alik Ab'aj (El Asintal) site in 2020 revives the slim hope of one day deciphering the last secrets of the writing of a civilization that was, without doubt, grandiose. In fact, the inscriptions appearing on the site serve as a "missing link" between the writing of the Mayas and that of the Olmecs, who preceded them and settled on the territory in 1500 BC. Moreover, thanks to her research on another Guatemalan archaeological site, the renowned Piedras Negras, American epigraphist Tatiana Proskouriakoff (1909-1985) proved that certain symbols represented dates, and that the Maya were therefore recording real events from their past history. This was a major breakthrough in view of the subtleties of a language that is not only written with an alphabet, but uses mixed elements. The reading direction, which adapts according to the length of the text, makes comprehension even more difficult. According to her last wishes, Tatiana Proskouriakoff's ashes were scattered on this mythical spot.
Literally speaking, Guatemalan literature - that which is intelligible to us - only began to be written after the arrival of the Spaniards, and begins with a quasi-legendary figure, that of Sor Juana de la Concepción, whose life was documented by Thomas Gage, a 17th-century English missionary, but widely questioned until recently. She is said to have taken holy orders in 1619, at the age of 21. Enjoying her father's fortune, she was by no means a recluse: on the contrary, her apartments had the chic of a Baroque palace, where the artists of her time would gather. Nevertheless, poems attributed to her, including El ángel de los forasteros on the subject of her life in the convent, earned her the reputation of being the first Guatemalan poetess. She was followed by Francisco Antonio de Fuentes y Guzmán (1643-1700), who wrote Recordación Florida, a chronicle in which he describes, among other things, the conquest of Guatemala, and above all Rafael Landivar (1731-1793), who earned the title of National Poet. His work is, however, the fruit of his banishment, since he was forced to leave his native country as a priest when the Jesuits were expelled from Spain and the Spanish colonies in 1767. Exiled to Italy, he wrote - in Latin! - Rusticatio Mexicana, a love song to the country of his birth, and to the country of which he was accustomed. His body was repatriated in the 20th century and now rests in his beloved Guatemala, which he never had the chance to see again.
From independence to dictatorship
While the 19th century ended with the birth of Antonio José de Irisarri, who cut his political and journalistic teeth in Chile rather than Guatemala, ending his life in New York in 1868, where he continued to write poetry and novels, the 20th century began with the birth of José Batres Montúfar (1809-1844). His short life mirrored the events that were shaking his country at the time, full of hopes and disappointments. Nevertheless, although his family destroyed some of his writings after his death, those that remain make him the best Guatemalan representative of the Romantic movement, with Al Volcán, San Juan and Yo pienso en ti. He also drew inspiration from the legends of his country to write satyrical tales such as Tradiciones de Guatemala and Tres cuentos alegres y picantes escritos en verso. A few years his junior, José Milla y Vidaurre inherited the title of father of the Guatemalan novel. He was born in 1822 in a world in upheaval: independence had been declared the previous year, and Guatemala's Captaincy General had been attached to Mexico. In the end, Augustin de Iturbide failed to fulfill his mission and was overthrown, but the foundations were laid for the political development of "Pepe Milla", who became a minister and ambassador. In the field of literature, he specialized more specifically in historical novels, publishing La Hija del Adelantado (1866), set in colonial times, El libro sin nombre, Los Nazarenos and above all El Visitador (1867), which marked the high point of his literary career and portrayed the English privateer Francis Drake. Máximo Soto Hall (1871-1944) was another novelist influenced by him. The latter was born in a country that, once again, had experienced many upheavals: Belgian and then German colonization, liberal revolution.. Guatemala was already under the yoke of Manuel Estrada Cabrera, who had seized power in a coup d'état in 1898 and held it authoritatively until 1920, when one of Soto Hall's most famous books, El Problema, was published in Costa Rica in 1899, to great acclaim and controversy, and is still considered the first anti-imperialist novel.
The dictatorship was hardly conducive to freedom of expression, even for writers living abroad, such as Enrique Gómez Carrillo, who had moved to Paris when he was 18 in 1891, and whose pronounced taste for bohemianism earned him the threat of having his scholarship withdrawn if he did not decide to return to Madrid, which he did. This man, whose literary criticism had brought him to the attention of Rubén Darío during the latter's brief exile in Guatemala, nevertheless continued to write numerous articles and books, initially portraits of authors(Esquisses) and then, at the time of the First World War, war chronicles. He died in 1927 in the French capital, his body buried in the Père-Lachaise cemetery.
We should also mention Rafael Arévelo Martínez (1884-1975), whose frail health prevented him from continuing his studies, but did nothing to diminish his precocious talent. Together with his friend Jaime Sabartès (1881-1968) - a Catalan and friend of Picasso who settled in Guatemala - he became the leader of the so-called "1910 generation" of painters. However, Arévalo also published short stories, first in the magazine Electra and then in the magazine Juan Chapín, of which he was editor-in-chief, notably L'Homme qui ressemblait à un cheval, a satirical portrait of the Colombian poet Porfirio Barba-Jacob, whom he compared to an equine, which caused quite a stir. After 1920, Arévelo became head of the National Library and continued to publish "psycho-zoological" works featuring very human animals(El mundo de los maharachías, Viaje a Ipanda). For his part, Jaime Sabartès joined the Alliance française, became a professor at the Academy of Fine Arts and organized exhibitions of modern art.
Openness and abundance
The twentieth century was hardly more peaceful, oscillating between periods of restriction and periods of openness. One of these periods saw the emergence of the "1920 generation", which saw the emergence of Miguel Ángel Asturias (1899-1974), future winner of the 1967 Nobel Prize for Literature, and Luis Cardoza y Aragón (1901-1992). Both opposed the dictatorship and embarked on careers as diplomats, both were passionate about their country's history, but both lived in exile, and both flourished in the avant-garde movement - from surrealism to magic realism - composing rich, sometimes difficult, often critical prose, novelistic in the case of the former, poetic in the case of the latter. If Cardoza's work(Quinta estación, Circulos concentricos, Tierra de belleza convulsiva, etc.) has not been translated into French despite the numerous distinctions it has received, it is possible to make up for it by discovering that of Asturias: Légendes du Guatemala and Poèmes indiens published by Gallimard, Monsieur le Président (his most incisive novel, which takes a South American dictator as its subject, published by GF Flammarion), Le Pape vert published by Albin Michel..
We should also mention Magdalena Spínola (1896-1991), a childhood friend of Miguel Ángel Asturias, who like him became involved in politics, particularly feminist issues. A life made up of travels, conferences and bereavements, saw her publish ardent poetry (from El preámbulo de la ma estra in 1937 to En Vela in 1971) that earned her posterity as the "Guatemalan Muse" and resonated with the work of her colleagues, including Romalia Alarcón Folgar and Elisa Hall de Asturias, born in 1900, who had to fight against the prevailing sexism. The former wrote some fifteen collections of poetry, from Plaquetes in 1938 to El Vendedor de trinos, published posthumously in 1976, while the latter published an essay on alcoholism(Madre maya) and two biographies on a 17th-century settler(Semilla de Mostaza and Mostaza), which were said to have such literary merit that she had to fight to prove that she was the author! Women have struggled to make their mark, yet they have left their mark on Guatemalan literature, like the poet Angelina Acuña (1905-2006), Luz Méndez de la Vega (1919-2012), who worked to safeguard the writings of her colleagues and was appointed to the Academia Guatemalteca de la Lengua, and Margarita Carrera (1929-2018), who received the Miguel Ángel Asturias Prize in 1996 for her biographies, essays and poems. Lucrecia Méndez, Ana Silvia Monzón and Regina José Galindo(Rage, éditions des Lisières) continue along these lines, combining activism, preservation and literary exploration.
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Miguel Angel Asturias
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Poems by Miguel Angel Asturias. Considered Guatemala's greatest writer and the father of magical realism, Miguel Angel Asturias was awarded the 1967 Nobel Prize in Literature.
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Considered Guatemala's greatest writer and the father of magical realism, Miguel Angel Asturias was awarded the 1967 Nobel Prize in Literature.
Miguel Angel Asturias was both a writer and a social champion. He spent his life fighting for the rights of Indians, for the freedom of Latin American countries from both dictatorships and outside influences—especially the United States—and for a more even distribution of wealth. He wrote mainly about the ancient Quiche culture. He was best known for his novels, such as El senor presidente and Hombres de maiz, but he was also a notable short-story writer, poet, dramatist, and translator. He won the Nobel Prize for literature in 1967.
Asturias was born a year after the dictator Manuel Estrada Cabrera came to power in Guatemala. Born October 19, 1899, in Guatemala City, to Ernesto Asturias, an attorney and district court judge, and Maria Rosales de Asturias, a teacher, Asturias lived a life full of political intrigue and saw many changes of government in his home country. After Ernesto Asturias dismissed a case against some medical students who were protesting the Cabrera regime, he was dismissed from his judicial position and disenfranchised, and he and his family were forced to flee Guatemala City. They went to the small town of Salama where some of the Asturias' Indian relatives lived. It was during this time of exile that Asturias learned about the Mayan culture from his mother and his Indian nanny, Lola Reyes. He learned many things at this time that would later appear in his writing. The Asturias family returned to Guatemala City in 1906 at which time Asturias' father became a sugar and flour importer. In an interview translated in Review magazine, Asturias recalled how he started writing. "I wanted to be a writer, and I became one when the great earthquake [at 10:20pm on December 25, 1917] destroyed Guatemala City. During that period I wrote my first poems and my first short stories. Someone even saw fit to publish them."
After finishing high school, Asturias went to college and received his degree in law from the Universidad de San Carlos de Guatemala. His graduate thesis Sociologia guatemalteca: El problema social del indio (Guatemalan Sociology) won him both the Premio Galvez and the Chavez Prize for his lively prose. He also co-founded the Universidad Popular de Guatemala (People's University), a place where lawyers, engineers, and doctors conducted free classes for workers and peasants. His leftist political views under the regime of president Jose Maria Orellana led to a brief imprisonment. He was sent to London by his father partly to get him out of harm's way and partly to study international law and economics. He quickly found himself, however, more engrossed with the Mayan materials at the British Museum than his studies and soon after moved to Paris to study anthropology instead.
While he was in Paris, Asturias met many notable literary and scholarly figures, including Ramon del Valle-Inclan, Miguel de Unamuno, James Joyce, Andre Breton, Pablo Picasso, Alejo Carpentier, Tristan Tzara, Pablo Neruda, Robert Desnos, Alfonso Reyes, Arturo Uslar Pietri, and Louis Aragon. He studied at the Sorbonne with another famous scholar, Georges Raynaud—a specialist in Mayan culture. Raynaud had translated the Popol Vuh, a sacred Mayan text, from the original language into French, and later, under his tutelage, Asturias translated the book from French into Spanish.
Around the same time, Asturias published a book of stories called Leyendas de Guatemala, a collection of Indian tales. Asturias categorized the book, a mix of Indian lore and realism, as "magical realism." In an interview translated in Review magazine, Asturias described what this term meant: "An Indian, or a mestizo, someone who lives in a small village, tells of having seen how a cloud or an enormous stone changed into a person or into a giant, or how the cloud became a stone…. The Indian thinks in images. He does not see things in process, but he always displaces them into another dimension, in which we see the real disappear and the dream emerge, in which dreams are transformed into tangible and visible reality."
Asturias returned to Guatemala in 1933 during the regime of Jorge Ubico. He spent his time during Ubico's term in office writing poetry and supporting himself with journalism and a professorial post. In 1939 he married Clemencia Amado, with whom he eventually had two sons, Rodrigo and Miguel Angel (the couple divorced in 1947). In 1946, when a more liberal government had taken power, Asturias published the book El senor presidente, a novel originally written in protest of the dictatorship of Manuel Estrada Cabrera, but which came to be applied toward the horrors perpetrated by every dictator who ever ruled over a Central American country. It has been called an affecting story of a nation that was controlled by terror. He had been working on the book since 1922.
From 1946 to 1954 Asturias served as Guatemalan ambassador to Mexico, Argentina, and El Salvador. He continued to publish during this time. Hombres de maiz was a six-part novel about Indian cultures' problems when faced with progressive modern technology. It was a novel filled with magic and metaphor he learned during his time with the Mayans. The Latin American Literary Review said of Asturias' writing, "[Far] too taken with existence, his own existence, to actively and sympathetically become engrossed with Europe's post-war hassles, Miguel Angel promptly disrobed reality of her austere dress and affectionately arrayed her in the sensual, colorful, transparent silks of his mind's fancy."
He next wrote a trilogy of books all concerned with oppressive North American influences on Central American workers. Viento fuerte (Strong Wind), El papa verde (The Green Pope), and Los ojos de los enterrados (The Eyes of the Interred), have often been found by critics to be aggressive and lacking in the magical poetic quality of Asturias' other works, although they remained three of Asturias' favorite works. The same is true of the book of short stories titled Weekend en Guatemala, a collection of angry stories concerning the invasion of exiled leader Carlos Castillo Armas, who Asturias contended had the help of the United States. In an interview translated in Review, Asturias said of the trilogy, "The trilogy means a lot to me because there was an existential conscientiousness in its origin that I hadn't previously taken very seriously. When I faced the reality of the plantations, my conscience awoke. And that was the reality of my country, not an invention of mine; it was in no way imaginary.
I repeat: it was the reality of my country that reduced me to a state of despair and forced me to tell myself and others what is contained in these novels."
Asturias, after divorcing his first wife, met and married his second wife, Blanca Mora y Araujo, in 1950. She was Argentinian, so when Asturias was deported in 1954 and lost his Guatemalan citizenship, he went to live in Buenos Aires. He lived there for eight years before the political situation became too dangerous for his family, and then he and his wife headed for Europe. They eventually settled in Paris. He is said to have credited his second wife with making him believe in life again after a long spell of disenchantment.
Asturias and his wife were living in Genoa when his novel Mulata de tal was published. According to I&L, "Miguel Angel Asturias' Mulata de tal is carnival incarnated in the novel. A ribald bacchannalia, it represents a collision between Mayan Mardi Gras and Hispanic baroque. This is a book where masks and metamorphosis are the norm; punning, the lingua franca; and sexual fantasy and farce, the common denominator of all relationships." It was said by the Hispanic Review to be "sufficiently obvious that the whole art of this novel rests upon its language. In general, Asturias matches the visual freedom of the cartoon by using every resource the Spanish language offers him. His use of color is striking and immeasur-ably more liberal than in earlier novels."
In 1966 Asturias won the Lenin Peace Prize and was also named the Guatemalan ambassador to France by the new government of President Julio Mendez Montenegro. He won the Nobel Prize for literature in 1967. After his death in 1974, Guatemala established an award in his name, the Miguel Angel Asturias Order. He was a man who believed deeply in maintaining Native American culture in Guatemala, and who championed those who were persecuted. His literature was critically acclaimed, but perhaps not always appreciated. According to The Review of Contemporary Fiction, "As an artist, his complexity is such that readers and critics often shy away from his elegant beauty." His magical realism wove a spell around readers, and it is to be believed his works will be appreciated for years to come.
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Men of Maize
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"Men of Maizeby Miguel Ángel AsturiasTHE LITERARY WORK A novel set in Guatemala beginning in 1898 and spanning approximately 50 years; published in Spanish (as Hombres de maíz) in 1949",
"in English in 1975.SYNOPSIS Six separate yet interwoven stories explore the plight of native people of Guatemala",
"who fight to maintain their cultural identity in the face of the forces of change.Events in History at the Time the Novel Takes PlaceThe Novel in Focus"
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Men of Maizeby Miguel Ángel AsturiasTHE LITERARY WORK A novel set in Guatemala beginning in 1898 and spanning approximately 50 years; published in Spanish (as Hombres de maíz) in 1949, in English in 1975.SYNOPSIS Six separate yet interwoven stories explore the plight of native people of Guatemala, who fight to maintain their cultural identity in the face of the forces of change.Events in History at the Time the Novel Takes PlaceThe Novel in Focus Source for information on Men of Maize: World Literature and Its Times: Profiles of Notable Literary Works and the Historic Events That Influenced Them dictionary.
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https://www.encyclopedia.com/arts/culture-magazines/men-maize
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by Miguel Ángel Asturias
THE LITERARY WORK
A novel set in Guatemala beginning in 1898 and spanning approximately 50 years; published in Spanish (as Hombres de maíz) in 1949, in English in 1975.
SYNOPSIS
Six separate yet interwoven stories explore the plight of native people of Guatemala, who fight to maintain their cultural identity in the face of the forces of change.
Events in History at the Time the Novel Takes Place
The Novel in Focus
Events in History at the Time the Novel Was Written
For More Information
Miguel Ángel Asturias was born in Guatemala City in 1899. No stranger to oppression, Asturias lived much of his life abroad in order to avoid political persecution at home. During his stay in Paris in the 1920s, he studied surrealism and, under the tutelage of Professor Georges Reynaud, translated the Popol Vuh, a sacred book of the Maya Indians of Guatemala. Asturias’s first novel, El Señor Presidente (1946), explored political corruption and discontent in Guatemala—subjects that would reappear in many of his later works, including the “Banana Trilogy,” a fiercely polemical exposé of the United Fruit Company that included the novels Viento fuerte (1949; Strong Wind), El Papa verde (1954; The Green Pope), and Los ojos de los enterrados (1960, The Eyes of the Interred). Although his popularity never rivaled that of later Latin American authors, in 1967 Asturias became the first Latin American writer to receive the Nobel Prize for Literature—one year after he was awarded the International Lenin Peace Prize by the Soviet Union. El Señor Presidente was arguably Asturias’s most popular work during his lifetime, but since his death in 1974, critics have widely acclaimed Men of Maize as his masterpiece.
Events in History at the Time the Novel Takes Place
The importance of maize
Asturias’s use of maize (corn) as the central motif in the novel corresponds to the myth of creation in the Popol Vuh, the sacred book of the Quiche Maya Indians. In the Popol Vuh human beings are created from yellow and white maize, ground nine times by the Xmucane (Grandmother of Light), and from water, which becomes human fat when worked by several mythic beings called “Bearer, Begetter, Sovereign Plumed Serpent”:
the making, the modeling of our first mother-father
with yellow corn, white corn alone for the flesh,
food alone for the human legs and arms
for our first fathers, the four human works [first four human beings].
(Tedlock, p. 164)
Asturias echoes the Popol Vuh at the beginning of Men of Maize as Gaspar Ilóm reflects upon his reason for fighting the maizegrowers: “The [maizegrowers’] maize impoverishes the earth and makes no one rich. … Sown to be eaten it is the sacred sustenance of the men who were made of maize. Sown to make money it means famine for the men who were made of maize” (Asturias, Men of Maize, p. 11). Generations later, an old woman that Hilario Sacayón, another of the novel’s characters, meets on his journey reiterates: “[W]e can feed on maize, which is the flesh of our flesh on the cobs … but everything will end up impoverished and scorched by the sun, by the air, by the clearing fires, if we keep sowing maize to make a business of it, as though it weren’t sacred, highly sacred” (Men of Maize, p. 192).
In Indian communities, the sowing and harvesting of maize are tasks that combine the ritualistic and the practical. Rigoberta Menchú (see Í, Rigoberta Menchú , also covered in Latin American Literature and Its Times), a late twentieth-century Quiche Indian woman, describes the ceremony performed before maize is sown:
We choose two or three of the biggest seeds and place them in a ring, candles representing earth, water, animals and the universe… . The seed is honoured because it will be buried in something sacred—the earth—and because it will multiply and bear fruit the next year.
(Menchú, p. 32)
Another Indian recalls, “When you plant [maize], you throw four seeds into the ground, no more, no less… . Each group of corn has four stalks, four plants… . [W]e cut down any other plant growing next to the corn because it robs it of its strength” (Simon, p. 38).
Theological implications notwithstanding, maize is essential to Indian life. “[T]heir primary food is the corn-based tortillas which furnishes one-half the calories in the average daily diet. A family of six consumes 150 tortillas daily… . Guatemala produces over 500,000 tons of corn each year” (Simon, p. 22). In the novel Horn invites the Machojón family to a feast in which maize-based tamales constitute much of the menu: “Large tamales, red ones and black ones, … and smaller ones like acolytes in white maize-leaf surplices … and tamales with aniseed and tamales with green maize-ears, like the soft un-hardened flesh of little maize boys” (Men of Maize, p. 22).
Racial tensions
Asturias does not furnish the reader with an exact time frame for Men of Maize, but most critics agree that, roughly speaking, the action begins in 1898, a year before Asturias was born, and ends in the mid-1940s, about the time the novel was written. This was a particularly turbulent period for Guatemala, which had been plagued by ethnic division and social unrest since its independence from Spain on September 15, 1821. Between 1821 and 1847 Guatemala was part of a federation of Central American states (including Nicaragua, Honduras, Costa Rica, and El Salvador, for example), which together adopted some social reforms of Spanish traditions during these years. Many of Guatemala’s social and political problems stemmed from the uneasy relationship between the indigenous people, of Mayan Indian descent, and the ladinos. A loose category, the term ladino refers to everyone who has adopted the clothing and behaviors of Western culture. Ladinos may be European, Indian, mestizo (a mix of the two), or black; a ladinized Indian is one who has adopted Spanish traits. Since the Spanish conquest in 1524, ladino descendants of the original conquistadores (conquerors) have controlled the wealth and resources of Guatemala, as they do when the novel begins.
The ongoing conflict between Indians and ladinos acquires a personal dimension at the start of Men of Maize. Gaspar Ilóm, an Indian chieftain, and his tribe battle the ladino planters who cut down their trees to plant maize for profit: “The maizegrower sets fire to the brush and does for the timber in a matter of hours. And what timber. The most priceless of woods… . Different if it was to eat. It’s to make money” (Men of Maize, p. 11). Tomás Machofón, who used to be one of Horn’s men, is caught in the middle of this struggle because he is married to a ladino woman, Vaca Manuela. Interracial marriages have, in fact, been frowned upon in Guatemala: “Throughout the highland Mayan region, in Mexico and Guatemala, Ladinos believe themselves to be superior, treat Indians as inferiors and shun mixed marriages” (Brintnall, p. 20). In the novel Vaca Manuela is the “supreme authority” in the Ma-chofón’s marriage; she persuades her husband to betray the Indians and adopt the planters’ cause.
Señor Tomás … was an Indian but his wife, Vaca Manuela Machofón, had turned him into a Ladino. Ladino women have iguana’s spittle, which hypnotizes men. Only by hanging them by their ankles can you extract those viscous mouthfuls of flattery and servility which get them their way in everything. That was how Vaca Manuela won Señor Tomás over for the maizegrowers.
(Men of Maize, p. 18)
It is through ladino treachery—as personified by Tomás and Vaca Manuela—that the Indian Horn is poisoned and his men slaughtered by Colonel Godoy. This betrayal of the Indians by the ladinos resonates throughout the novel in the form of a curse that dooms all the betrayers.
Nineteenth-century Guatemalan politics—an overview
Historically, political alliances in Guatemala have been divided into two factions, Conservative and Liberal. For the most part, Conservatives have adopted a “live and let live” strategy in dealing with the indigenous people, who are too poor to wield any real political power but too numerous to ignore completely. Liberal politics, which favor the more mercantile interests of the ladinos, are in ascendancy when the novel begins. This period of Liberal ascendancy began in 1873 when Justo Rufino Barrios, known as the “Reformer,” became president of Guatemala. During his 12 years in office (1873-85), Barrios implemented many of the sweeping economic and political changes that provide the backdrop for Asturias’s novel.
THE UNITED FRUIT COMPANY IN GUATEMALA
A major economic and political force in Guatemala until recent years, the United Fruit Company was a multinational corporation founded in 1899 by three enterprising U.S. citizens: a ship captain, a fruit importer, and a railroad developer. In 1906 Guatemalan President Manuel Estrada Cabrera made critical concessions to the North Americans so that they would bring their business to Guatemala instead of to another Latin American country with similar resources; among other things, he granted them the exclusive right to operate Guatemala’s central railway line. While the wealthy elite of Guatemala prospered from this relationship, the Indian people were forced to leave their homes in the highlands and to work as peons on the plantations. Forcing the Indians to work against their will was nothing new in Guatemala. In 1877 the Liberal government issued an edict, the Reglamento de Fornaleros (Law of the Day Laborers), which permitted coffee growers to recruit a certain number of Indians for a limited time from communities in the highlands, even against their will. The system remained in effect through the early 1900s, although over time the government took some steps on behalf of the forced laborers—for example, the setting of minimum wages. Such measures hamstrung exploiters to a degree but certainty did not stop them. The monopolies granted to United Fruit by Estrada Cabrera and his successors allowed the company to exploit the people and the land of Guatemala—creating a reserve of resentment in the indigenous population that would fuel future conflicts.
Determined to “modernize” Guatemala, Barrios and his supporters embarked upon a program of progressive reform that included establishing a strong, centralized national government and seeking foreign capital to invest in Guatemala’s economy. To attract investors (both ladino and foreign) the government legalized the sale of uncultivated Indian land to the highest bidder and forced the Indian people to toil on privately owned plantations, often in a form of debt peonage. Commerce was likewise under non-Indian control; much of it wound up in the hands of foreigners because Indian culture discouraged the accumulation of goods beyond what was necessary to live. In the novel, the presence of the two foreign shop owners in remote San Miguel Acatan (the Bavarian Don Deferic and the anonymous “Chinaman”) suggests the success of Barrios’s Liberal policies in reaching even the most rural sections of Guatemala.
Barrios’s plan to centralize and consolidate government authority resulted in the construction of new roads, railways, and telegraph lines, which made formerly remote villages (like Pisiguilito in the novel) increasingly accessible to outsiders and more susceptible to government control. The Indians were no longer permitted to govern themselves, and instead were obliged to adopt a system in which tribal elders functioned solely in an advisory or ceremonial capacity—only the ladino alcade (mayor) with the support of government troops wielded any real power. In the story of Gaspar Ilóm, for example, the Indian elders are ill-defined figures who step out of the shadows only when custom demands that they take part in the ceremonies welcoming Colonel Godoy to Pisiguilito.
Indian insurrections in the highlands
Not surprisingly Barrios had trouble implementing many of his ideas without the use of force. In fact, under Barrios’s rule the military became a tool of political oppression for the first time in Guatemala. When the Indians protested government policies (such as forced labor on the plantations) with weapons instead of words, troops were dispatched to force them into submission. Hidden in the hills, the Indian insurrectionists presented a real threat to planters and townspeople alike. The novel’s Colonel Godoy points out to the townspeople of Pisiguilito: “If we hadn’t arrived here last night the Indians would have come down from the mountains this morning and not one of you slobbering bastards would have lived to tell the tale” (Men of Maize, p. 14). What Godoy leaves unsaid, however, is the part that Liberal policies played in fostering the acrimonious relationship between ladinos and Indians.
A system of oppression
These tensions did not disappear when Manuel Estrada Cabrera became president in 1898. A ruthless dictator, Estrada Cabrera not only expanded upon the policies (both good and bad) that Barrios had implemented, but persecuted anyone—ladino or Indian—who questioned his authority. When Asturias’s father, for example, a district judge, dismissed a case against political opponents of the dictator, he lost his job and nearly lost his life. Estrada Cabrera accomplished some good—he substantially improved the public health and education systems, for example—but his rule has been remembered much more for its tyranny and oppression. In 1920 Estrada Cabrera was finally deposed, after being declared insane by a government assembly.
EL SEÑOR PRESIDENTE
Manuel Estrada Cabrera provided the model for Asturias’s first, and arguably most popular, novel, El Señor Presidente. This is the complex story of a corrupt dictator who manipulates and destroys the lives of his people. Asturias wrote the novel over a period of 24 years, finally publishing it in 1946. Any reluctance to release such an indictment of despotism is not surprising given the atmosphere of deceit and intrigue that persisted in Guatemala during the presidency of Jorge Ubico (1931-44).
The Novel in Focus
Plot summary
The narrative of Men of Maize unfolds on two levels, sometimes simultaneously: the magical realm of Mayan myth and the factual, everyday reality of the ladinos. “Men crisscrossed with cartridge belts” and wielding machetes share the same space with firefly wizards who sow “sparkling lights in the black air of the night” and who dwell “in tents of virgin doeskin” (Men of Maize, p. 19). The narrative often shifts abruptly from one perspective to the other, offering multiple interpretations of passing events, leaving the reader to decide which world—that of the Indian or the ladino—makes more sense. The plot is divided into six parts—“Gaspar Ilóm,” “Machofón,” “The Deer of the Seven-Fires,” “Colonel Chalo Godoy,” “María Tecún,” and “Coyote-Postman”—covering an indefinite span of years. The second, third, and fourth sections all take place seven years after the events of the first part, addressing the consequences of an Indian massacre brought about by treachery. Still more time has passed in the last two sections, both of which deal with the disappearance of a beloved wife and the Indians’ loss of cultural identity.
“Gaspar Ilóm.” At the turn of the century, deep in the highlands of Guatemala, Gaspar Ilóm and his men battle ladino planters and state troops in an attempt to reclaim the land of their Mayan ancestors. Government-sponsored planters have destroyed the forests and exhausted the fields of the Indians in order to cultivate high-yield crops for financial gain. This abuse of the earth controverts the religious reverence with which the indigenous people hold the natural world. “We are made of maize,” a
MAIN CHARACTERS IN MEN OF MAIZE (IN ORDER OF APPEARANCE)
Gaspar Ilóm Leader of the Indian guerillas who are determined to reclaim the homeland of their ancestors from the maizegrowers, by violent means if necessary. He is married to La Piojosa Grande (translated in the novel as “great fieabag/’ but more traditionally as “the great filthy one a reference to the Aztec Great Earth Mother). She runs away after Horn is poisoned.
Tomás Machojóm Once a member of Gaspar Horn’s band, now married to Vaca Manuela , a ladino woman who urges him to betray his former leader.
Colonel Gonzalo Godoy: The head of the government troops ordered to track down and kill Gaspar 116m and his guerilla band.
Zacatone: Apothecary who sells the poison used to kill Gaspar Horn.
The Tecún Brothers: Seven brothers who take revenge on Zacatone and his family for bewitching their grandmother. Curer/Deer of the Seven-Fires: Indian shaman who can assume the shape of a deer (his nahual double) at will. He counsels the Tecun brothers when their grandmother falls ill.
Goyo Yic: Blind beggar who regains his sight and becomes a peddler in order to wander the world in search of his runaway wife. Maria Tecun; Supposedly the only member of the Zacatone family to survive the Tecun brothers’ wrath; the runaway wife of Goyo Yic.
Nicho Aquino: Postman for San Miguel Acatan whose wife has disappeared without a trace.
Hilario Sacayón: Muleteer sent by the people of San Miguel Acatan to trace the path of the broken-hearted postman.
character will say later in the novel, “and we can’t make a business out of what we’re made of, out of what our flesh is” (Men of Maize, p. 192). Gaspar’s guerrilla tactics have proven so effective that the nearby townspeople refuse to leave their houses before midday for fear of being shot by “Indians with rainwater eyes” (Men of Maize, p. 12). Finally it is only through deceit that Colonel Chalo Godoy can bring down the “invincible” Gaspar Ilóm. With the aid of Horn’s former comrade, Tomás Machojón, Godoy poisons the unsuspecting chieftain. La Piojosa Grande, Horn’s wife, runs away with their son when she realizes that her husband is poisoned. While Horn rushes to the river to purge himself, Godoy massacres Horn’s men. Horn survives the poison but drowns himself when he realizes the fate of his companions.
“Machojón.” Stories begin to circulate within the Indian community that the firefly wizards—godlike figures who seem to change shape at will—have vowed to “extinguish” Horn’s murderers and all of their descendants. Seven years after Horn’s death, Machojón, the only son of Tomás Machojón (who is now the prosperous owner of a large hacienda), mysteriously disappears one day while riding into town to court his beloved. The reader knows that Machojón has been attacked by the firefly wizards, who have mourned the death of Gaspar Ilóm and laid a curse on those involved. It may be that the disappeared Machojón has been turned into a star:
The fireflies beat against the straw hat pulled down around his ears, like golden hailstones with wings on… . The horse, the packsaddle, the sheep-skin cover … everything was on fire, without giving off either flame, smoke, or any smell of burning. The candle glow of the fireflies streamed down from his hat, behind his ears, over the collar of his embroidered shirt, over his shoulders, up the sleeves of his jacket, down the backs of his hairy hands, between his fingers, like frozen sweat, like the light at the beginning of the world, a brightness in which everything could be seen, but without definite form. … He sat himself upright, with his face uncovered, to confront the enemy who was dazzling him. … As long as he stayed in the saddle he would be a star up in the sky.
(Men of Maize, p. 31)
Machojón’s body is never found, and no one knows whether he was swallowed by the earth, has gone to travel the world, or was consumed by a fiery “swarm of locusts” (Men of Maize, p. 31). His father and Colonel Godoy, however, believe that he was gunned down by Indian guerrillas. Soon Indian peons (field laborers) claim to see the figure of “Machojón” outlined in the glow of the burning fields. Desperate for work, the Indians gamble that Don Tomás will allow them to first burn and then cultivate his land so that he might catch a glimpse of his lost son in the flames. The chapter ends when a catastrophic fire consumes the lives of all those involved in the destruction of the land.
“The Deer of the Seven-Fires.” With the Machojón family dead, the curse of the firefly wizards descends that same year upon the Zacatones, the family of the apothecary who supplied the poison used on Ilóm. This section, however, revolves around the Tecún brothers, who have played no previous part in the story, and their connection to the Zacatones is revealed only belatedly.
When their grandmother falls ill with “cricket hiccups,” the Tecún brothers seek help from the healer or “curer,” a practitioner of Indian remedies, and, some believe, a firefly wizard in human form. (Later in this chapter, the curer will be identified as the human “double” of the mysterious Deer of the Seven-Fires). Informed that the Zacatones have bewitched their grandmother, the brothers retaliate with terrifying swiftness: before the night is out, every member of the Zacatone family, except for María Tecún, is dead.
In an unexpected twist, the healer himself is found with a bullet through his head at approximately the same moment that Gaudencio Tecún shoots and kills a splendid deer. Was the healer killed by government troops or by the hand of Gaudencio Tecún? No one knows for sure. But Gaudencio grounds his explanation on the Mayan belief of nahualism: “The curer and the deer … were one and the same person. I fired at the deer and did in the curer, because they were one and the same, identical” (Men of Maize, p. 56).
“Colonel Chalo Godoy.” While riding on patrol, Colonel Godoy and his men are trapped in a mountain cirque (a steep crater) by a mysterious forest fire. Only Godoy stands his ground when his terrified soldiers break rank and attempt to scale the steep walls of the cirque. Many manage to escape the flames only to be shot and killed by the Tecún brothers, who await them at the top of the hill. The guerilla tactics of the Tecún brothers suggest that they, too, have joined the struggle against the maizegrowers and the government troops who support them. Later, Eusebio Tecún tells his brother that it was the curer, now transformed into the Deer of the Seven Fires, who came back to life to take revenge on Colonel Godoy for the murder of Gaspar Horn. After telling Eusebio his story, the resurrected deer “set off running downhill. Soon after, the fire could be seen” (Men of Maize, p. 98). Colonel Godoy’s death ends the first part of the novel. At least one of his men, and therefore the curse of the firefly wizards, survives.
“María Tecún.” When Goyo Yic, the blind beggar, is deserted by his wife—María Tecún—and family, he tries to resume the familiar routine of his life by returning to the foot of an Amate tree to beg for alms. Without the support of his family, however, he lacks the endurance to continue: “The blind man wearied of hearing so many people passing by him all day and all night and of repeating unto nausea his prayers for alms” (Men of Maize, p. 107). Goyo turns to a practitioner of Indian remedies (in this case, an herbalist) to restore what he has lost: first his eyesight, and then, he hopes, his wife.
NAHUALISM
The sacred books of Mayan religion tell of the Indian’s unique relationship with his or her animal double, or nahual. This animal is the Indian’s special protector and, in certain circumstances, an extension of the Indian. There are various ways to pick a nahual; it is often determined by the closeness or the action of an animal on the person’s birthday. The fates of the person and nahual are believed to be linked. For example, Goyo Yic, the peddler, spends his days searching for his missing family; his nahual is an opossum: “The moonlight changed him from a man into an animal, an opossum, a female possum, with a pouch in front of him to carry the babies in” (Men of Maize, p. 124). The connection between a man and his nahual is so strong that when Goyo becomes distracted from his search by the charms of pretty women and drink, the pet opossum he adopted runs away.
Through a combination of religious ritual and surgical skill, the herbalist removes the cataracts from Goyo’s eyes. Yet Goyo’s hope soon turns to despair when he realizes that his eyes cannot help him to find a wife that he has never seen. What is worse, the inner vision he once relied on is now obscured by the ever-changing spectacle of the world around him.
Becoming first a peddler of trinkets, then a vendor of alcohol, Goyo sadly admits to Mingo, his friend and partner, that his search for his wife has lasted too long: “I don’t feel anything. Before compadre, I searched to find her; now I search so as not to find her” (Men of Maize, p. 137). Goyo takes refuge in alcohol, drinking away his profits until one day he and Mingo become so drunk that they lose their liquor license and are arrested for smuggling. Transported to an island prison, Goyo now has no hope of seeing his family again. Ironically, it is at this moment, when the future appears the darkest, that Goyo’s luck will begin to change.
“Coyote-Postman.” The tale of the coyote-postman is, in some ways, the culmination of the five stories that precede it. Many of the lingering questions and unsolved mysteries from earlier portions of the novel find resolution in this final chapter—a chapter which, not surprisingly, is longer than the first five combined.
Some years have passed and the story of Goyo Yic and his errant wife has become a part of local legend—now any woman who deserts her husband is called a tecuna, after María Tecún, Goyo’s wife. In this final section the deserted husband is Señor Nicho Aquino, the postman for San Miguel Acatan, “a small town built on a shelf of golden stone above abysses where the atmosphere is blue” (Men of Maize, p. 154). Once again the narrative unfolds on two levels—the everyday reality of the townspeople and the magical reality of Mayan mythology. Nicho, the coyote-postman, has a foot in both worlds, and, as his story progresses, he finds it increasingly difficult to keep the two separate. In fact, early in the narrative, Nicho assumes the shape and inhabits the world of his nahaul double, the coyote.
After an arduous trip delivering mail to the capital, which is many miles and many mountains away, Nicho returns home to San Miguel Acatan, eager for the company of his beautiful wife, Isabra. To his dismay, he finds his rancho deserted; the fire is cold and his bed is empty. After drowning his sorrows in drink at the local bar, he is arrested for drunkenness, dosed with camphorated oil to rid him of the alcohol, then flogged.
Nicho is far from recovered—either emotionally or physically—when he sets out three weeks later on his normal route to the capital. Gamely shouldering two heavy sacks laden with mail, he sets off for his destination via the now infamous Tecún Pass. He reaches the inn of Nana Moncha at the village of Tres Aguas, where he meets a strange old man with blackened hands: a firefly wizard in human guise. Traveling together, they veer from the “high road” and enter the mythological realm of Nicho’s ancestors. Here the postman undergoes a series of trials, journeys through fantastic landscapes (a cavern of firefly wizards that leads to an aerial plain suspended from branches over the earth and dimly lit grottos), reviews the secrets of the past and, ultimately, discovers the tragic fate of his missing wife.
Meanwhile, Hilario Sacayón, a muleteer, has been sent by the people of San Miguel Acatan to locate the missing postman. Although aware of the legends of runaway wives and the men who die in search of them, Sacayón remains skeptical of their veracity. He himself has contributed to the propagation of one local myth about a tragic romance between a traveling sewing-machine salesman named O’Neill and a nonexistent girl, Miguelita of Acatan. An old woman he meets on the road assures him, “When you tell a story that no one else tells anymore, you say: I invented this, it’s mine. But what you’re really doing is remembering—you, through your drunkenness, remembered what the memory of your forefathers left in your blood” (Men of Maize, p. 204). Sacayón remains a skeptic, however, until he meets, on María Tecún Ridge, a coyote that seems very familiar:
Was it or was it not a coyote? How could he doubt that it was, when he saw it so clearly. But that was it, he clearly saw it and saw that it wasn’t a coyote, because as he looked he had the impression that it was a person and a person he knew… . They’ll laugh in my face if I tell them I arrived in good time at María Tecún Ridge and saw Aquino the postman in the form of a coyote.
(Men of Maize, p. 210)
Thoroughly shaken by his experience, Sacayón keeps his encounter with the coyote-postman a secret.
Meanwhile, Nicho emerges from the cavern and realizes that there is no going back to the world he left behind; one of the conditions of his passage through the mythic realm was that he destroy the bags of mail he had carried from San Miguel Acatan. Traveling to the coast, he finds work doing odd jobs in a rat-infested hotel. One of Nicho’s jobs is to ferry guests of the hotel out to the Harbor Castle prison on an island just off the coast. It is during one of these trips to the island that he encounters María Tecún, on her way to visit her oldest son, who was recently imprisoned in Harbor Castle. It is here that the paths of the remaining characters converge. Goyo Yic, also imprisoned in Harbor Castle, is reunited first with his son, then with his runaway wife, who explains her flight: she feared having too many children by him and not being able to provide for them. Believing Goyo Yic to be dead, Maria Team has married Benito Ramos, a sterile survivor of the massacre of Gaspar Horn’s tribe so many years before. The epilogue to Men of Maize reveals that Nicho eventually inherits the hotel from the original owner, the Boss Lady. Meanwhile, Goyo Yic and María Tecún reconcile after Benito Ramos’s death and return to Pisiguilito, where they build a rancho big enough for their children and grandchildren to live with them: “Wealth of men, wealth of women, to have many children. Old folk, young folk, men and women, they all became ants after the harvest, to carry home the maize” (Men of Maize, p. 306).
Myth: the key to social and political identity
Recurring throughout Men of Maize is the loss of cultural identity for the Indian whose lifestyle and traditional beliefs are in danger of being absorbed by ladino society. Both the peddler, Goyo Yic, and the postman, Nicho Aquino, have allowed themselves to be subsumed into a materialistic culture that venerates profit over a heritage with roots that extend deep into the earth itself. Ariel Dorfman (author of Death and the Maiden [also covered in Latin American Literature and Its Times] argues that in such cases “human beings … possess their myths only in order to orient themselves in the darkness, to understand their essence which is scattered in time” (Dorfman in Asturias, p. 411).
The interpolation of Mayan legend into the narrative is one of the ways that Asturias underscores the importance of myth in Indian society. René Prieto argues that in order “to paint a picture of hope and renewal, Asturias looks back to the ancient myths of Mesoamerica” (Prieto, pp. 132-33). More importantly, perhaps, Asturias allows his characters to generate their own mythology—a collection of stories that interpret the uncertainties of life according to traditional standards. The local legend of the tecuna (runaway wife), for example, makes sense of a phenomenon that threatens to disrupt the core of domestic society in San Miguel Acatan.
Not surprisingly, therefore, it is in the subterranean cavern of firefly wizards, where Nicho observes the stories and history of his people, that he first understands “the emblems of a rich tradition that defines and sustains him” (Prieto, p. 145). By choosing his Indian heritage over the privileges and power of the ladino world, Nicho passes the test that most other characters (Tomás Machojón, Goyo Yic) have failed up until now; when confronted with adversity and self-doubt, Nicho listens to the voice of his ancestors. The problems plaguing Nicho do not magically disappear when he leaves the cavern—he is never reunited with his wife and never returns to San Miguel Acatan. He does, however, become the agent through which the now chastened Goyo Yic can recapture the future he had lost.
Sources and literary context
For much of the mythological details in Men of Maize, Asturias drew upon the sacred books of Mayan religion: the Popol Vuh, the Annals of the Cakchiquels, and the books of the Chiiam Balam. Interestingly, his familiarity with the literature of the indigenous people of the Maya can be traced back to his stay in Paris in the early 1920s—it was under the guidance of the French scholar Georges Raynaud that he helped translate the Popol Vuh into Spanish. It was also during this period that Asturias came into contact with the work of the French Surrealists. He would later adopt and incorporate into his own work many of the innovations of the Surrealists—their emphasis on the alternative reality of the dream state and non-chronological time, for example, are key components in each of the sections of Men of Maize.
In his seminal study, Miguel Ángel Astuñas, Richard Callan details the parts that Aztec as well as Greek mythology play in Asturias’s work. The ancient Aztecs inhabited the same general region—Mexico and Central America—as the Mayans. Widespread contact in the region over the centuries led to similarities in mythologies.
Several gods from the Aztec pantheon are discernible in the first section. Gaspar Ilóm … is Huitzilopochtli, the sun and fertility god; his wife, la Piojosa Grande (literally, the Great Filthy One), is the Great Earth Mother, Tlazolteotl, whose name in Náhuatl means “Goddess of Filth.” From their union was born Martin who is actually referred to as corn in the novel… in view of the Indians’ belief that they were Corn Men.
(Callan, p. 66)
Events in History at the Time the Novel Was Written
The end of the Liberal regime
Asturias’s manipulation of time in Men of Maize makes it difficult to speculate at exactly what point in Guatemala’s history the novel ends (one character will race from infancy to mature adulthood in the time it will take another to travel from adolescence to middle age). It is almost as difficult to pinpoint when the novel was written. According to Gerald Martin (who translated Menof Maize into English), Asturias began working on the novel “without knowing it” while living abroad in the mid-1920s. Martin notes that “fully recognizable fragments of parts one, three and six appeared between 1925 and 1933 in newspapers and magazines in France and Latin America” (Martin in Asturias, p. xv). Yet the majority of Men of Maize was almost certainly written after Asturias returned home in 1933—two years after General Forge Ubico had been elected president of Guatemala.
Life for the Indian people did not improve under Ubico’s regime. Although he did away with the system of debt peonage, Ubico implemented a vagrancy law that made any Indian without a job vulnerable to periods of enforced labor. The laborers were often sent miles away from their families to work on the large coffee plantations on the coast, and were paid barely enough to survive from season to season. Ironically, Ubico, the man responsible for separating the members of countless families, encouraged the Indians to refer to him as Tata, or Papa. Within three years of assuming office, he passed a decree that obliged all Indian men to pay a tax or to work for two weeks of the year without pay. In June 1944 disgruntled workers called a general strike that successfully forced Ubico from office.
“Ten Years of Spring.”
The years before the publication of Men of Maize (1949) brought a number of changes to Guatemala. President Juan José Arévalo Bermejo (1945-50), an idealistic university professor, supported a program of labor reform that dispensed with Ubico’s vagrancy law of 1934 and replaced it with a system that protected the rights of all workers. In 1952 President Jacobo Arbenz Guzman (1950-54) dismantled the Liberal legacy one step further by sponsoring an agrarian reform act redistributing large tracts of public and privately owned land. Many of the new social and political reforms would not last ten years (a period that would subsequently be referred to nostalgically as “The Ten Years of Spring”). Yet the optimistic note upon which the novel concludes reflects the climate of promise prevailing in Guatemala when Asturias was writing Men of Maize—a novel he could never have hoped to publish in his homeland just five short years before.
Changing cultural identities
When Asturias was writing Men of Maize, race relations between Indians and ladinos continued to be strained (and are to this day), although the years since the 1940s saw minute social changes in the way indigenous people are treated. In the decades between the publication of Men of Maize in 1949 and its translation into English in 1975, some of the more blatant discriminatory practices were abolished. Indians were no longer forced to walk in the streets instead of on public sidewalks or expected to remove their hats and look down on the ground when addressed by a ladino. Ladinos, however, continued to speak to Indians as inferiors: “[I]t is still the rule that Ladinos address Indians, no matter what their age and position, as children by using the informal tú or vos. Titles of respect, such as don, doña, señor and señora are almost never used with Indians, except as a joke” (Brintnall, p. 19).
In contrast to the novel, in which recognition of their common culture ultimately unites such diverse characters as Goyo Yic, Hilario Sacoyón, and Nicho Aquino, many Indians abandoned their heritage through “ladinoization.” Hoping to achieve a higher level of social status and acceptance in the ladino world, these Indians reshaped their cultural identities by changing the way they dressed, learning to speak Spanish, or, like Tomás Machojón in the novel, marrying a ladino. This trend was a fairly minor occurrence in the highlands: “[I]t is generally recognized that it is almost impossible for an Indian to Ladinoize without leaving the community where he was born” (Brintnall, p. 21). But Indians who relocated to the city were often able to adapt: “Ladinoization does occur on a massive scale, but generally among Indians who have become part of the permanent labor force on large commercial plantations … or who have entered the ranks of the urban poor” (Brintnall, p. 21).
Reviews
Although critics in the United States hailed Men of Maize as a “richly textured work,” most of them acknowledged that the complex novel might be difficult going for a reader unfamiliar with the “myth-haunted Mayan landscape” (Perera in Samudio, p. 55). What to one reader was the work of “an innovator of language and an individual stylist,” was dismissed as “feverish overwriting” by another (Choice in Samudio; Allen in Samudio, p. 55). More recently, Mario Vargas Llosa (author of The Storyteller [also covered in Latin American Literature and Its Times]) noted that the “temporal confusion and chronological arbitrariness” have proven to be troublesome obstacles for all but the most “stubborn and determined readers” (Vargas Llosa in Asturias, p. 445).
Despite the difficulties of its style, the novel has enjoyed a long life in print. Seven different editions have been published in Spanish and the novel has been translated into the major European languages.
—Deborah Kearney and Pamela S. Loy
For More Information
Asturias, Miguel Ángel. Men of Maize: The Critical Edition. Trans. Gerald Martin. Pittsburgh: University of Pittsburgh Press, 1993.
Brintnall, Richard. Revolt Against the Dead: The Modernization of a Mayan Community in the Highlands of Guatemala. New York: Gordon and Breach, 1979.
Brinton, Daniel G., ed. Annals of the Cakchiquels. Trans. Daniel G. Brinton. Philadelphia: Brinton, 1885.
Callan, Richard. Miguel Ángel Asturias. New York:Twayne, 1970.
Menchú, Rigoberta. I, Rigoberta Menchú: An Indian Woman in Guatemala. Ed. Elisabeth Burgos-Debray. Trans. Ann Wright. London: Verso, 1984.
Prieto, René. Miguel Asturias’ Archeology of Return. Cambridge: Cambridge University Press, 1993.
Samudio, Josephine, ed. The Book Review Digest, 1976. New York: H. W. Wilson, 1977.
Simon, Jean-Marie. Guatemala: Eternal Spring, Eternal Tyranny. New York: W. W. Norton, 1987.
Tedlock, Dennis, trans. Popol Vuh: The Mayan Book of the Dawn of Life. New York: Simon and Schuster, 1985.
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|||||
correct_award_00058
|
FactBench
|
0
| 71
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https://www.babelmatrix.org/works/hu-all/Asturias%252C_Miguel_%25C3%2581ngel-1899
|
en
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Babel Web Anthology :: Works
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correct_award_00058
|
FactBench
|
2
| 68
|
https://tarnmoor.com/2018/03/13/miguel-angel-asturias/
|
en
|
Miguel Ángel Asturias
|
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2018-03-13T00:00:00
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It was almost twenty years ago that Martine and I were wandering through Paris’s gigantic Père Lachaise cemetery in the 20th Arrondissement. There were a number of surprises, one of which was the grave of Miguel Ángel Asturias, who died in 1974. Rising above a bronze funerary plaque is a Maya stela similar to the…
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en
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Tarnmoor
|
https://tarnmoor.com/2018/03/13/miguel-angel-asturias/
|
It was almost twenty years ago that Martine and I were wandering through Paris’s gigantic Père Lachaise cemetery in the 20th Arrondissement. There were a number of surprises, one of which was the grave of Miguel Ángel Asturias, who died in 1974. Rising above a bronze funerary plaque is a Maya stela similar to the ones found at the ruins of Quiriguá in his native country. To this day, he is Central America’s lone winner of the Nobel Prize for Literature, which was awarded to him in 1967.
I have been interested in visiting Guatemala for many years. During the time I was most available to go, Guatemala was in the middle of fighting an armed insurrection by a mostly Maya peasantry who were tired of being forced off their land, enslaved, or massacred. Between 1960 and 1966, some 200,000 Guatemalans died fighting, mostly Maya campesinos. I have just finished re-reading Asturias’s first major novel, El Señor Presidente, set during the presidency of Manuel Estrada Cabrera, who ruled from 1898 to 1920. I have been a big Asturias fan since 1975.
Now that I am pretty much decided on Guatemala as my next vacation destination, I will add at least two or three more Asturias novels to the ones I have already read. To date, I have finished:
El Señor Presidente (1946), his most famous novel
Men of Maize (1949)
Strong Wind (1950), the first volume of the United Fruit Company trilogy
Mulata (1963)
I plan to finish the other two volumes in the trilogy—The Green Pope (1954) and The Eyes of the Interred (1960)—both of which were translated by Gregory Rabassa, one of my favorite translators from the Spanish.
Although Asturias is so identified with the Maya, it is interesting to note that he comes from a well-to-do Creole family that could trace its origins back to 1660.
|
|||||
correct_award_00058
|
FactBench
|
2
| 13
|
https://www.newworldencyclopedia.org/entry/Miguel_Angel_Asturias
|
en
|
Miguel Angel Asturias
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https://static.newworldencyclopedia.org/favicon.ico
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https://www.newworldencyclopedia.org/entry/Miguel_Angel_Asturias
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Miguel Ángel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel-Prize–winning Guatemalan poet, novelist, and diplomat. Asturias helped establish Latin American literature's contribution to mainstream Western culture, drawing attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and grew up in Guatemala, but spent significant time abroad, first in Paris in the 1920s, where he studied anthropology and Indian mythology. Many scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement; he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor. Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
Biography
Early life and education
Miguel Ángel Asturias was born in Guatemala City in 1899, a year after the appointment of President Manuel Estrada Cabrera.[1] His father, Ernesto Asturias, was a lawyer and a notary.[2] His mother, María Rosales de Asturias, was a schoolteacher.[3] Ernesto and Maria had two children: Miguel Ángel and Marco Antonio.[2] Asturias' father had political differences with Cabrera retired from his practice. The family was forced to move in 1905 to the town of Salamá, the provincial capital of Baja Verapaz, where Miguel Angel Asturias lived on the farm of his paternal grandparents.[4] This is also a land full of legends and myths that Asturias would later use in his literature.[5] In 1908, when Miguel Ángel was nine, his family returned to the outskirts of the city to live in the Parroquia Vieja suburb where Asturias spent his adolescence and his family established a supply store.[5]
Asturias was guided by Dolores Reyes (AKA "la Lola"), his "nana," to have his first encounters with formal education. He first attended Colegio del Padre Pedro and then, Colegio del Padre Solís.[5] Asturias began writing as a student and wrote the first draft of a story that would later become his novel El Señor Presidente.[6]
In 1922, Asturias and other students founded the Popular University, a community project whereby "the middle class was encouraged to contribute to the general welfare by teaching free courses to the underprivileged."[1] Asturias spent a year studying medicine before switching to the faculty of law at the Universidad de San Carlos de Guatemala in Guatemala City[7], obtaining his law degree in 1923. He was awarded the Premio Falla as top student in his faculty. It was at this university that he founded the Asociación de Estudiantes Universitarios and the Asociación de estudiantes El Derecho. Both his Associations have been recognized as positively associated with Guatemalan patriotism.[8] Asturias worked as a representative of the Asociación General de Estudiantes Universitarios, traveling to El Salvador and Honduras. In 1920, Asturias participated in the uprising against President Manuel Estrada Cabrera.
Asturias' university thesis, "The Social Problem of the Indian," was published in 1923.[9] In the same year he moved to Europe, after receiving his law degree. He had originally planned to live in England and study political economy but changed his mind.[7] He transferred quickly to Paris, where he studied ethnology at the Sorbonne (University of Paris} and became a militant surrealist under the influence of the French poet and literary theorist André Breton.[10] While there, he was influenced by the gathering of writers and artists in Montparnasse (an area of Paris) and began writing poetry and fiction. During this time, Asturias developed a deep concern for Mayan culture and in 1925 he worked to translate the Mayan sacred text, the Popol Vuh, into Spanish. He also founded a magazine while in Paris called Tiempos Nuevos or "New Times".[11] Asturias stayed in Paris for a total of ten years.
Political career
Asturias returned to Guatemala in 1933, working as a journalist before serving in his country's diplomatic corps. He founded and edited a radio magazine called El diario del aire.[10] He also wrote several volumes of poetry around this time, the first of which was his Sonetos (Sonnets), published in 1936.[10]
In 1942, he was elected to the Guatemalan Congress.[12] In 1946, Asturias embarked upon a diplomatic career, continuing to write while serving in several countries in Central and South America. Asturias held a diplomatic post in Buenos Aires, Argentina in 1947 and in Paris, France in 1952.[13]
When Asturias returned to his native country in 1933, he was faced with the dictator Jorge Ubico and a regime that would not tolerate his political ideals. He stayed in Guatemala until 1944. During his time in Guatemala, he published "only poetry, which was characterized by elegant cynicism."[7] Eventually in 1933[14] he broke out of his decade of poetry when a more liberal government ruled the country, writing the novel El Señor Presidente, which explored the world around an unnamed dictator in an unspecified Latin American country. The novel could not be published during the rule of Ubico and so El Señor Presidente did not appear until 1946.[15]
Asturias served as an ambassador to Mexico, Argentina, and El Salvador, between 1946 and 1954. His novel "Men of Maize" was published during his time as ambassador. This novel was organized into multiple parts, each dealing exploring the contrast between traditional Indian culture and modernity.[16]
Exile and rehabilitation
Miguel Àngel Asturias devoted much of his political energy towards supporting the government of Jacobo Arbenz (the successor to Guatemalan ruler Juan José Arévalo Bermejo).[17] Asturias was enlisted for his work as an ambassador to help suppress the threat of rebels from El Salvador. While his efforts were backed by the United States and the El Salvadorean government, the rebels succeeded in invading Guatemala and overthrowing Jacobo Arbenz' rule in 1954. When the government of Jacobo Arbenz fell, Asturias was expelled from the country by Carlos Castillo Armas because of his support for Arbenz. He was stripped of his Guatemalan citizenship and went to live in Buenos Aires, where he spent the next eight years of his life. Even though he remained in exile Asturias did not stop his writing. When a change of government in Argentina made it so that he once more had to seek a new home, Asturias moved to Europe.[18] While living in exile in Genoa his reputation grew as an author with the release of his novel, Mulata de Tal (1963).[19]
In 1966, democratically elected President Julio César Méndez Montenegro achieved power and Asturias was given back his Guatemalan citizenship. Montenegro appointed Asturias as Guatemalan ambassador in Paris, where he served until 1970 and took up a permanent residence.[20]
Later in Asturias' life he helped found the Popular University of Guatemala.[9] Asturias spent his final years in Madrid, where he died in 1974. He is buried in the Père Lachaise Cemetery in Paris.
Family
Miguel Ángel Asturias married his first wife, Clemencia Amado, in 1939. They had two sons, Miguel and Rodrigo Ángel, before divorcing in 1947. Asturias then met and married his second wife, Blanca Mora y Araujo, in 1950.[21] Mora y Araujo was Argentinian, and so when Asturias was deported from Guatemala in 1954, he went to live in the Argentinian capital of Buenos Aires. He lived in his wife's homeland for eight years. They remained married until Asturias' death in 1974.
Asturias' son from his first marriage, Rodrigo Asturias, under the nom de guerre Gaspar Ilom (the name of an indigenous rebel in his father's own novel, Men of Maize), was President of the Unidad Revolucionaria Nacional Guatemalteca. The Unidad Revolucionaria Nacional Guatemalteca was a rebel group active in the 1980s, during the Guatemalan Civil War, and after the peace accords in 1996.[22]
Major works
Leyendas de Guatemala
Asturias' first major work, Leyendas de Guatemala (Legends of Guatemala; 1930), describes Mayan civilization before the Spanish conquest. The novel brought him critical praise in France as well as in Guatemala. The noted French poet and essayist Paul Valéry wrote of the book (in a letter published as part of the Losada edition), that "I found it brought about a tropical dream, which I experienced with singular delight."[23] The novel used elements of magical realism to tell multiple tales. The novel employs both conventional writing as well as lyrical prose to tell a story about birds and other animals conversing with other archetypal human beings.[24]
For Gerald Martin, it is "the first major anthropological contribution to Spanish American literature."[25] Jean Franco describes the book as "lyrical recreations of Guatemalan folk-lore many of which drew their inspiration from pre-Columbian and colonial sources."[26]
El Señor Presidente
One of Asturias' most critically acclaimed novels, El Señor Presidente was completed in 1933 but only published in 1946. As one of his earliest works, El Señor Presidente showcases Asturias's talent and influence as a novelist. Zimmerman and Rojas described his work as an "impassioned denunciation of the Guatemalan dictator Manuel Estrada Cabrera."[27] The novel was written during Asturias's exile in Paris.[28] While living completing the novel, Asturias associated with members of the Surrealist movement as well as fellow future Latin American writers such as Arturo Uslar Pietri and the Cuban Alejo Carpentier.[29] El Señor Presidente is one of many novels to explore life under a Latin American dictator; it has been herlded by some as the first real dictator novel.[30]
The actual events are vague and the plot is partially based on real events while the time and locale are fictional. Asturias's novel examines how evil spreads downward from a powerful political leader and into the streets and a country's citizens. Justice is mocked in the novel and escape from the dictator's tyranny is impossible. Each character in the novel is deeply affected by the dictatorship and must struggle to survive in a terrifying reality.[28] The novel travels with several characters, some close to the President and some seeking escape from his regime. The dictator's trusted adviser, whom the reader knows as "Angel Face," falls in love with a General, General Canales daughter Camila. The General is hunted for execution while his daughter is held under house arrest.[31] Angel Face is torn between his love for her and his duty to the President. While the Dictator is never named he has striking similarities to Manuel Estrada Cabrera. El Señor Presidente uses surrealistic techniques and reflects Asturias' notion that Indian's non-rational awareness of reality is an expression of subconscious forces.[32]
Playwright Hugo Carrillo adapted El Señor Presidente into a play in 1974.[33]
Hombres de maíz
Hombres de maíz (Men of Maize, 1949) is usually judged to be Asturias' masterpiece. The novel is written in six parts, each exploring the contrast of traditional Indian customs and a progressive, modernizing society. Asturias' book explores the magical world of indigenous communities, a subject which Asturias was both passionate and knowledgeable. It portrays a rebellion by an isolated tribe of Indians which live remotely in dangerous mountains and at risk of annihilation by the army.[34] The plot revolves around an Indian community (the "corn people") whose land is threatened to be cultivated for profit using methods that will destroy their land. The second part of the novel presents a different perspective by introducing new characters. The later generation comes into contact with Indian figures of the past and they struggle to maintain their ancestral traditions.[35] The story is made relevant by Asturias through his analysis of how European imperialism is used to dominate, control, and transform other civilizations within Latin America and around the world.[36]
Asturias used his extensive knowledge of pre-Columbian literature to tell his story in the form of a myth. Because his novel was presented in such a unique way it was ignored by critics and the public for a long time after its release in 1949.[36]
The Banana Republic Trilogy
Asturias also wrote an epic trilogy on the exploitation of the native Indians on banana plantations: this trilogy, comprised of the novels Viento fuerte (The Cyclone 1950), El Papa Verde (The Green Pope 1954), and Los ojos de los enterrados (The Eyes of the Interred 1960), is a fictional story about foreign control over the Central American banana industry.[7] The volumes were first only published in small quantities in his native country of Guatemala.[15] Asturias finally finished the last book in the Trilogy nearly 20 years after the first two volumes. His critique of the fruit industry and how the Guatemalan natives were exploited eventual earned him the Soviet Union's highest prize, the Lenin Peace Prize. Asturias's recognition marked him as one of the few authors that was recognized in both the West and in the Communist bloc during the period of the Cold War.[37]
Mulata de tal
Asturias published his novel Mulata de tal while he and his wife were living in Genoa in 1963. His novel received many positive reviews; Ideologies and Literature described it as "a carnival incarnated in the novel. It represents a collision between Mayan Mardi Gras and Hispanic baroque."[38] The novel emerged as a major novel during the 1960s.[24] The plot revolves around the battle between Catalina and Yumí to control Mulata (the moon spirit). Yumí and Catalina become experts in sorcery and are criticized by the Church for their practices. The novel uses Mayan mythology and Catholic tradition to form a unique allegory of belief.
Gerald Martin in the Hispanic Review commented that it is "sufficiently obvious that the whole art of this novel rests upon its language. In general, Asturias matches the visual freedom of the cartoon by using every resource the Spanish language offers him. His use of color is striking and immeasurably more liberal than in earlier novels."[39] Asturias built the novel by this unique use of color, liberal theory, and his distinctive use of the Spanish language.[40] His novel also received the Silla Monsegur Prize for the best Spanish-American novel published in France.[9]
Mayan influences
The influence of rich Mayan culture on Asturias' literary work and political life is undeniable.[41] He believed in the sacredness of the Mayan traditions and worked to bring life back into its culture by integrating the Indian imagery and tradition into his novels.[42] For example his novel "Men of Maize" comes from the Mayan belief that humans are created from stalks of corn. Asturias' interest in Mayan culture is notable because many Mayan traditions and cultures were stifled by the influence of the Catholic church.[43] The Spanish in Central America viciously banned certain rituals, destroyed Aztec and Mayan texts and fought to bring the Christian religion to the Indian communities in Guatemala. Asturias' work as a scholar integrated the sacred suppressed tradition back into Latin American Literature.
Asturias studied at the Sorbonne (the University of Paris at that time) with Georges Raynaud, an expert in the culture of the Mayan Quichés, and he eventually finished a translation of the Popol Vuh, the sacred book of the Mayas in 1926.[44] In 1930, fascinated by the legends and myths of the Indians of Guatemala, he wrote Legends of Guatemala".[45]
Jean Franco categorizes Asturias as an "Indianist" author, along with Rosario Castellanos and José María Arguedas. She argues that all three of these writers are led to "break with realism precisely because of the limitations of the genre when it came to representing the Indian."[46] So, for instance, Franco says of Asturias' Hombres de maíz (Men of Maize) that "the technique here is more akin to poetry than to traditional prose, but we feel that this is a more authentic way of representing the Indian mind."[47] She points out also that the novel's temporality "is a mythic time in which many thousands of years may be compressed and seen as a single moment".[46] Even the language of the book is affected: it is "a Spanish so structured as to be analogous to Indian languages."[46]
Legacy
After his death in 1974, Guatemala established an award in his name, the Miguel Àngel Asturias Order. The country's most distinguished literary prize, the Miguel Ángel Asturias National Prize in Literature, is also named in his honor. In addition, Guatemala's National theater is named after him.
Asturias is remembered as a man who believed strongly in maintaining indigenous culture in Guatemala, and who encouraged those who were persecuted. His literature was critically acclaimed, but not always appreciated. But, for Gerald Martin, Asturias is one of what he terms "the ABC writers—Asturias, Borges, Carpentier" who, he argues, "really initiated Latin American modernism."[48]
Critics compare his fiction to that of Franz Kafka, James Joyce, and William Faulkner.[49] His work has been translated into numerous languages such as English, French, German, Swedish, Italian, Portuguese, Russian and many more.
Awards
Asturias received many honors and awards over the course of his career, most notably the 1967 Nobel Prize for literature. The award of the Nobel caused some controversy, as critic Robert G. Mead notes: outside of Latin America, Asturias was still relatively unknown; within Latin America, some thought that there were more deserving candidates.[50] More controversial still was the award of the Soviet Union's 1966 Lenin Peace Prize, for exposing "American intervention against the Guatemalan people."[51] This honor came after his completion of the Banana Trilogy.
Other prizes for Asturias' work include: Premio Galvez, 1923; Chavez Prize, 1923; Prix Sylla Monsegur, for Leyendas de Guatemala, 1931; and Prix du Meilleur Roman Etranger, for El señor presidente, 1952.[18]
Selected works
What follows is a selected bibliography. A fuller list can be found at the Nobel Prize website.[52]
Notes
References
ISBN links support NWE through referral fees
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Latin Americans Who Have Won the Nobel Prize in Literature
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<p>Latin American writers who have been honored with the Nobel Prize for Literature have enriched the global literary landscape with their talent.</p>
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https://www.telesurenglish.net/news/Latin-Americans-Who-Have-Won-the-Nobel-Prize-in-Literature-20240413-0007.html
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Since its creation in 1901, a total of 116 writers of up to 25 languages have been awarded the Nobel Prize for literature, the highest award a writer can receive. Of them only 6 have been Latin American, the most recent being Mario Vargas Llosa in 2010.
RELATED:
French Writer Annie Ernaux Wins 2022 Nobel Prize in Literature
They are: the Mexican poet Octavio Paz in 1990, the Chileans Gabriela Mistral (1945) and Pablo Neruda (1971), the Guatemalan Miguel Ángel Asturias (1967), the Colombian Gabriel García Márquez (1982) and the Peruvian Mario Vargas Llosa (2010).
Latin American writers who have been awarded the Nobel Prize for Literature stand out not only for their creative genius, but also for their deep commitment to exploring the human condition and complexities of society. From the lyrical poetry of Gabriela Mistral to the magical prose of Gabriel García Márquez, these authors have left an indelible mark on world literature.
Gabriela Mistral received the Prize in 1945. She was second Latin American to receive a Nobel Prize. Born into a family of modest resources, Mistral served as a teacher’s assistant in various schools until obtaining her degree in Magusterium and became an important thinker regarding the role of public education.
Her great poetic themes were pain and love, and among the considerations of the jury to give him the prize was that "her lyrical poetry, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world".
In 1967 the Guatemalan Miguel Ángel Asturias received the Nobel. Novelist, playwright and journalist among his most famous books are the novella Mister President, Men of Maize, Tales of Guatemala, and the The Banana Trilogy. Also Asturias was awarded the Soviet Union's Lenin Peace Prize for La trilogía bananera (The Banana Trilogy) in which he criticizes the presence of aggressive American companies such as The United Fruit Company in Latin American countries.
"For a poetry that with the action of an elemental force gives life to the destiny and dreams of a continent," said the Nobel committee when it presented the prize to the Chilean Pablo Neruda in 1971. Of Basque descent, among his most famous poetry books are Residence on Earth, Twenty Love Poems and a Song of Despair, and 100 Love Sonnets.
The Colombian Gabriel García Márquez received the Prize in 1982 "for his novels and short stories, in which the fantastic and the real combine in a world richly composed of imagination, reflecting the life and conflicts of a continent." Among his main works are the novels One Hundred Years of Solitude, Autumn of the Patriarch, and Chronicle of a Death Foretold.
Octavio Paz poet and essayist Mexican received the Nobel Prize in Literature in 1990. According to the jury he was awarded the prize for his "passionate writing with wide horizons, characterized by sensory intelligence and humanistic integrity". His poems have been published in anthologies of Mexican poetry translated into English, and other of his most relevant works are Collected Poems, and the essay The Double Flame.
Since 2010, when the Peruvian Mario Vargas Llosa was handed the Nobel Prize, he has not returned to a Latin American writer. His cartography of the power structures and his biting images of the individual’s resistance, rebellion and defeat were the jury’s considerations when deliberating.
Latin American writers who have been honored with the Nobel Prize for Literature have enriched the global literary landscape with their talent, passion and commitment to truth and beauty. Their legacy will endure far beyond the pages of their books, inspiring future generations of writers and readers to explore the infinite possibilities of art and imagination.
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Nobel Prize Laureates from Spanish-language countries
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Argentina Adolfo Pérez Esquivel, Peace, 1980 Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize. Bernardo Houssay, Physiology or Medicine, 1947 Bernardo Alberto Houssay (April 10, 1887 - September 21, 1971) was an Argentine physiologist…
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10 Reasons to Learn Spanish
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https://learn-and-teach-spanish.com/hispanic-culture/nobel-prize-laureates-from-spanish-language-countries/
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Argentina
Adolfo Pérez Esquivel, Peace, 1980
Adolfo Pérez Esquivel (born November 26, 1931) is an Argentine human rights activist, community organizer, pacifist, art painter, writer and sculptor. He was the recipient of the 1980 Nobel Peace Prize.
Bernardo Houssay, Physiology or Medicine, 1947
Bernardo Alberto Houssay (April 10, 1887 – September 21, 1971) was an Argentine physiologist who, in 1947, received one half Nobel Prize for Physiology or Medicine for his discovery of the role played by pituitary hormones in regulating the amount of blood sugar (glucose) in animals. He is the first Argentine and Latin American Nobel laureate in the sciences.
Carlos Saavedra Lamas, Peace, 1936
Carlos Saavedra Lamas (November 1, 1878 – May 5, 1959) was an Argentine academic and politician, and in 1936, the first Latin American Nobel Peace Prize recipient. In addition to the Nobel Peace Prize, he was awarded the Grand Cross of the Legion of Honor of France and analogous honors from ten other countries.
Luis Federico Leloir, Chemistry, 1970
Luis Federico Leloir (September 6, 1906 – December 2, 1987) was an Argentine physician and biochemist who received the 1970 Nobel Prize in Chemistry. Although his laboratories were often plagued by lack of financial support and second-rate equipment, his research into sugar nucleotides, carbohydrate metabolism, and renal hypertension has garnered international attention and fame and has led to significant progress in understanding, diagnosing and treating the congenital disease galactosemia.
César Milstein, Physiology or Medicine, 1984
César Milstein (8 October 1927 – 24 March 2002) was a Argentinian biochemist, (nationalized British)] in the field of antibody research. Milstein shared the Nobel Prize in Physiology or Medicine in 1984 with Niels Kaj Jerne and Georges J. F. Köhler.
Chile
Gabriela Mistral, Literature, 1945
Gabriela Mistral (7 April 1889 – 10 January 1957) was the pseudonym of Lucila Godoy Alcayaga, a Chilean poet-diplomat, educator and feminist. She was the first Latin American (and, so far, the only Latin American woman) to receive the Nobel Prize in Literature, which she did in 1945 “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world.” Some central themes in her poems are nature, betrayal, love, a mother’s love, sorrow and recovery, travel, and Latin American identity as formed from a mixture of Native American and European influences.
Pablo Neruda, Literature, 1971
Pablo Neruda was the pen name and, later, legal name of the Chilean poet-diplomat and politician Neftali Ricardo Reyes Basoalto (July 12, 1904 – September 23, 1973). He derived his pen name from the Czech poet Jan Neruda. In 1971 Pablo Neruda won the Nobel Prize for Literature. Neruda became known as a poet while he was still a teenager. He wrote in a variety of styles, including surrealist poems, historical epics, overtly political manifestos, a prose autobiography, and erotically charged love poems.
Colombia
Gabriel García Márquez, Literature, 1982
Gabriel José de la Concordia García Márquez (6 March 1927 – 17 April 2014) was a Colombian novelist, short-story writer, screenwriter and journalist, known affectionately as Gabo throughout Latin America. Considered one of the most significant authors of the 20th century, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature. He wrote many acclaimed non-fiction works and short stories, but is best known for his novels, such as One Hundred Years of Solitude (1967), The Autumn of the Patriarch (1975) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations.
Costa Rica
Oscar Arias Sánchez, Peace, 1987
Óscar Arias Sánchez (born September 13, 1940 in Heredia, Costa Rica) was President of Costa Rica from 1986 to 1990 and from 2006 to 2010. He received the Nobel Peace Prize in 1987 for his efforts to end the Central American crisis. Arias received the 1987 Nobel Peace Prize with the help of John Biehl, his peer in England, and Rodrigo Madrigal Nieto for his work towards the signing of the Esquipulas II Accords. This was a plan intended to promote democracy and peace on the Central American isthmus during a time of great turmoil. With the support of Arias, the various armed conflicts ended within the decade (Guatemala’s civil war finally ended in 1996).
Guatemala
Miguel Ángel Asturias, Literature, 1967
Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature’s contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union’s Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor.
Rigoberta Menchú, Peace, 1992
Rigoberta Menchú Thum (born 9 January 1959) is an indigenous Guatemalan woman, of the K’iche’ ethnic group. Menchú has dedicated her life publicizing the rights of Guatemala’s indigenous peoples during and after the Guatemalan Civil War (1960-1996), and to promote indigenous rights in the country. She received the Nobel Peace Prize in 1992 and the Prince of Asturias Award in 1998. She is the subject of the testimonial biography I, Rigoberta Menchú (1983) and the author of the autobiographical work, Crossing Borders.
Mexico
Mario J. Molina, Chemistry, 1995
Mario José Molina-Pasquel Henríquez (born March 19, 1943 in Mexico City) is a Mexican chemist and one of the most prominent precursors to the discovery of the Antarctic ozone hole. He was a co-recipient (along with Paul J. Crutzen and F. Sherwood Rowland) of the 1995 Nobel Prize in Chemistry for his role in elucidating the threat to the Earth’s ozone layer of chlorofluorocarbon gases (or CFCs), becoming the first Mexican-born citizen to ever receive a Nobel Prize in Chemistry.
Octavio Paz, Literature, 1990
Octavio Paz Lozano (March 31, 1914 – April 19, 1998) was a Mexican poet-diplomat and writer. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature and the 1990 Nobel Prize in Literature.
“There can be no society without poetry, but society can never be realized as poetry, it is never poetic. Sometimes the two terms seek to break apart. They cannot.”
Paz, Octavio. “Signs in Rotation” (1967), The Bow and the Lyre, trans. Ruth L.C. Simms (Austin: University of Texas Press, 1973), p. 249.
Alfonso García Robles, Peace, 1982
Alfonso García Robles (20 March 1911 – 2 September 1991) was a Mexican diplomat and politician who, in conjunction with Sweden’s Alva Myrdal, received the Nobel Peace Prize in 1982. García Robles received the peace prize as the driving force behind the Treaty of Tlatelolco, setting up a nuclear-free zone in Latin America and the Caribbean. The agreement was signed in 1967 by most states in the region, though some states took some time to ratify the agreement.
Spain
Vicente Aleixandre, Literature, 1977
Vicente Pío Marcelino Cirilo Aleixandre y Merlo (April 26, 1898 – December 14, 1984) was a Spanish poet who was born in Seville. Aleixandre received the Nobel Prize for Literature in 1977 “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”. He was part of the Generation of ’27.
Jacinto Benavente, Literature, 1922
Jacinto Benavente y Martínez (12 August 1866 – 14 July 1954) was one of the foremost Spanish dramatists of the 20th century. He was awarded the Nobel Prize for Literature in 1922 “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”.
Camilo José Cela, Literature, 1989
Camilo José Cela y Trulock, 1st Marquis of Iria Flavia (11 May 1916 – 17 January 2002) was a Spanish novelist, short story writer and essayist associated with the Generation of ’36 movement. He was awarded the 1989 Nobel Prize in Literature “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”.
José Echegaray, Literature, 1904
José Echegaray y Eizaguirre (April 19, 1832 – September 14, 1916) was a Spanish civil engineer, mathematician, statesman, and one of the leading Spanish dramatists of the last quarter of the 19th century. He was awarded the 1904 Nobel Prize for Literature “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”.
Severo Ochoa, Physiology or Medicine, 1959
Severo Ochoa de Albornoz (24 September 1905 – 1 November 1993) was a Spanish – American physician and biochemist, and joint winner of the 1959 Nobel Prize in Physiology or Medicine with Arthur Kornberg, for his work on the synthesis of RNA.
Juan Ramón Jiménez, Literature, 1956
Juan Ramón Jiménez Mantecón (23 December 1881 – 29 May 1958) was a Spanish poet, a prolific writer who received the Nobel Prize in Literature in 1956 “for his lyrical poetry, which in the Spanish language constitutes an example of high spirit and artistical purity”. One of Jiménez’s most important contributions to modern poetry was his advocacy of the French concept of “pure poetry.” A quotation from Jiménez, “If they give you ruled paper, write the other way,” is the epigraph to Ray Bradbury’s novel Fahrenheit 451.
Santiago Ramón y Cajal, Physiology or Medicine, 1906
Santiago Ramón y Cajal (1 May 1852 – 18 October 1934) was a Spanish pathologist, histologist, neuroscientist and Nobel laureate. His original pioneering investigations of the microscopic structure of the brain have led him to be designated by many as the father of modern neuroscience. His medical artistry was legendary, and hundreds of his drawings illustrating the delicate arborizations of brain cells are still in use for educational and training purposes.
Venezuela
Baruj Benacerraf, Physiology or Medicine, 1980
Baruj Benacerraf (October 29, 1920 – August 2, 2011) was a Venezuelan-born American immunologist, who shared the 1980 Nobel Prize in Physiology or Medicine for the “discovery of the major histocompatibility complex genes which encode cell surface protein molecules important for the immune system’s distinction between self and non-self”. His colleagues and shared recipients were Jean Dausset and George Davis Snell.
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Hispanic Culture
World Heritage sites in the Hispanic World
Cultural and historical ties between Australia and the Hispanic World
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Victor Gollancz Author Files
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The collection consists of the British publisher Victor Gollancz's author files on Miguel Ángel Asturias, Edith Sitwell, and Richard Wright.
The Miguel Ángel Asturias files regard his book El Señor Presidente (1946), and contain the original contract signed by Asturias; several readers' reports by A. L. Lloyd, J. Garcia Pradas, Gwyn Thomas, and Harriet de Onis; a 3-page typed author's questionnaire/biography; correspondence with potential translators, including several letters from Gwyn Thomas, letters and a signed contract from Frances Partridge, and postcards from V. S. Pritchett; as well as copious correspondence with Asturias's agent, Luisa Daniel. Also included are post-Nobel Prize correspondence regarding reprints and an author jacket photograph.
The Richard Wright files deal with four books: Uncle Tom's Cabin (1939), including the original contract with Harper & Brothers (not signed), 2 reader's reports, and a letter from Curtis Brown; Native Son (1940), including the original contract with Harper & Brothers (not signed), 2 reader's reports, and a letter from Curtis Brown; Black Boy (1945), including the original contract signed by Wright, reader's report, and libel correspondence with Rubinstein; and American Hunger (1978), including the original contract (not signed), reader's report, and original dust jacket photograph.
The Edith Sitwell files consist of correspondence, primarily from Edith Sitwell to Victor Gollancz Ltd., regarding her works issued under the firm's imprint, which include I Live under the Black Sun (1937), Edith Sitwell's Anthology (1940), To the Dark Tower (alternatively titled Spring Torrents, unpublished), Look! The Sun (1941), and The Atlantic Book of British and American Poetry (1958), which she edited. In addition to correspondence, the files also contain contracts and other correspondence with Sitwell's literary agent, American publishers, legal advisors, and others.
For preservation reasons, original analog and digital media may not be read or played back in the reading room. Users may visually inspect physical media but may not remove it from its enclosure. All analog audiovisual media must be digitized to preservation-quality standards prior to use. Audiovisual digitization requests are processed by an approved third-party vendor. Please note, the transfer time required can be as little as several weeks to as long as several months and there may be financial costs associated with the process. Requests should be directed through the Ask Us Form.
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Miguel Angel Asturias – Other resources
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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Miguel Angel Asturias
Other resources
Links to other sites
On Miguel Angel Asturias from Pegasos Author’s Calendar
To cite this section
MLA style: Miguel Angel Asturias – Other resources. NobelPrize.org. Nobel Prize Outreach AB 2024. Sat. 20 Jul 2024. <https://www.nobelprize.org/prizes/literature/1967/asturias/other-resources/>
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Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
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Asturias, Miguel Angel
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Miguel Angel AsturiasBORN: 1899, Guatemala City, GuatemalaDIED: 1974, Madrid, SpainNATIONALITY: GuatemalanGENRE: Fiction, nonfiction, poetryMAJOR WORKS:The President (1946)Men of Maize (1949)The Strong Wind (1950)The Green Pope (1954)The Eyes of the Interred (1960) Source for information on Asturias, Miguel Angel: Gale Contextual Encyclopedia of World Literature dictionary.
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Miguel Angel Asturias
BORN: 1899, Guatemala City, Guatemala
DIED: 1974, Madrid, Spain
NATIONALITY: Guatemalan
GENRE: Fiction, nonfiction, poetry
MAJOR WORKS:
The President (1946)
Men of Maize (1949)
The Strong Wind (1950)
The Green Pope (1954)
The Eyes of the Interred (1960)
Overview
Guatemalan statesman and Nobel laureate Miguel Angel Asturias is best known for the novels The President, about a Latin American dictator, and Men of Maize, about the conflicts between Guatemalan native Indians and land-exploiting farmers, as well as for a trilogy of novels about the Latin American banana industry. His writing—an extensive canon of fiction, essays, and poetry—often blends Mayan myth and folklore with surrealism and satiric social commentary, and is considered to evidence his compassion for those unable to escape political or economic domination.
Works in Biographical and Historical Context
Early Life Affected by Dictator Asturias was born in 1899 in Guatemala City, Guatemala, just one year after the country came under the dictatorship of Manuel Estrada Cabrera. Asturias's father, a supreme court magistrate, lost his position in 1903 when he refused to convict students who protested against Estrada Cabrera's increasingly totalitarian regime. Consequently, Asturias's family was forced to leave the city for a rural area in Guatemala, where the young Asturias's interest in his country's native Mayan and peasant customs perhaps originated. Although his family returned to Guatemala City four years later, Asturias had nonetheless suffered the first of many personal disruptions that autocracy and political unrest in Guatemala would cause throughout his career.
Political Activities Force Exile After attending secondary school, Asturias entered the Universidad de San Carlos to study law. As a college student, he was politically active, participating in demonstrations that helped to depose Estrada Cabrera and then serving as court secretary at the dictator's trial in the early 1920s. Asturias also helped to found both a student association of Guatemala's Unionist party and the Universidad Popular de Guatemala, an organization that provided free evening instruction for the country's poor.
In 1923, as the military (which had helped oust Cabrera) gained strength and Guatemala's political climate worsened, Asturias earned his law degree and shortly thereafter founded the weekly newspaper Tiempos Nuevos (New Times), in which he and several others began publishing articles decrying the new militarist government. Asturias fled the country the same year, his own life in danger after a colleague on the paper's writing staff was assaulted.
Began Literary Career Abroad Asturias lived for the next five months in London, spending much of his time learning about Mayan Indian culture at the British Museum. He moved then to Paris, where he supported himself for several years as European correspondent for Mexican and Central American newspapers while he studied ancient Central American Indian civilizations at the Sorbonne. He completed a dissertation on Mayan religion and translated sacred Indian texts, including the Popol Vuh and the Anales de los Xahil (Annals of the Xahil).
In Paris, Asturias also began his literary career. Associating with such avant-garde French poets as André Breton and Paul Valéry, Asturias was introduced to the techniques and themes of the surrealist literary movement, which would become important elements of his writing style. In 1925, Asturias privately published Rayito de estrella, a book of poetry. His Legends of Guatemala, a critically acclaimed collection of native stories and legends recalled from childhood, garnered him the 1931 Sylla Monsegur.
Changes in Regimes Offered New Possibilities Asturias returned to Guatemala in 1933, where he spent the next ten years working as a journalist and poet while the country operated under the military dictatorship of Jorge Ubico Castaneda. Asturias entered politics in 1942 with his election as deputy to the Guatemalan national congress. Three years later, after the fall of the Castaneda regime and the installation of the new president, Juan José Arevalo, Asturias joined the Guatemalan diplomatic service. The more liberal policies of the new government proved important for the author, both politically and artistically. Under Arevalo's rule, Asturias served in several ambassadorial posts in Mexico and Argentina from the early 1940s until 1952. In addition, the more tolerant political atmosphere made it possible for Asturias to publish his first novel, The President, in 1946.
Three years after the publication of The President, while serving as Guatemalan cultural attaché in Buenos Aires, Argentina, Asturias completed and published the first of his novels explicitly to evoke the mythology of his country's ancient past. Translated as Men of Maize in 1975, the story unfolds from the point of view of the indigenous people, whose ancient beliefs teach that the first human was made from corn and that the grain is therefore sacred and must be grown only for tribal use. When their resistance leader, Gaspar Ilom, is assassinated, the people place a curse on their enemies, beginning a series of events that becomes part of the Mayan Indian mythological heritage.
Published Lauded “Banana Trilogy” During his diplomatic assignments in Argentina, Asturias also worked on what has come to be known to English-speaking readers as his “Banana Trilogy”—three novels about the Latin American banana industry. Consisting of The Strong Wind, The Green Pope, and The Eyes of the Interred, the trilogy focuses on the conflicts between the labor force in an unidentified country (taken again by critics to be Guatemala), and Tropical Banana, Inc., a North American conglomerate commonly accepted as a
portrait of the real-life United Fruit Company. Founded in the late nineteenth century by American Minor C. Keith, the United Fruit Company wielded much power in Guatemala and eventually became based there. The company corrupted every aspect of Guatemalan politics and government in the early 1900s, was supported by the dictators that ruled the country, and greatly oppressed the Guatemalan people until the late twentieth century. Although the “Banana Trilogy” was not as critically acclaimed as his first two novels, it earned Asturias the International Lenin Peace Prize from the Soviet Union, which honored the work's stance against capitalist imperialism.
Forced Back into Exile Working for the government of Arevalo's successor Jacobo Arbenz Guzman in 1953, Asturias was sent as Guatemalan ambassador to El Salvador to try to prevent El Salvadoran rebels from invading Guatemala. Although he had enlisted the El Salvadoran government's aid, the rebels, with backing from the United States, nonetheless invaded Guatemala and overthrew Arbenz Guzman. Because of his support for the defeated leader, Asturias was stripped of his citizenship and exiled in 1954. Asturias later incorporated details from these El Salvadoran events in his 1956 collection of stories titled Weekend in Guatemala.
Asturias lived in exile, working in Argentina as a journalist for the Caracas, Venezuela, newspaper El Nacional until 1962, when he traveled to Italy as part of a cultural exchange program. During this period he continued to write, completing scholarly studies and publishing lectures, children's stories, and another novel. Asturias did not recover his Guatemalan citizenship until the election of president Cesar Mendes Montenegro's moderate government in 1966, when he accepted a job as French ambassador, the position in which he remained until 1970. In 1967, Asturias was awarded the Nobel Prize in Literature for the body of his work. On June 9, 1974, the author died from cancer of the intestine.
Works in Literary Context
Influenced by Indian and Spanish folklore as well as the often political and social upheaval he experienced firsthand in Guatemala, Asturias achieved worldwide fame because of his poetry and often poetic novels and short stories. He sensitively presented the culture of the Maya as well as that of greater Latin America. His masterful use of language, shaped by exposure to European ideas like surrealism, added to his power.
Mayan Myths Asturias's poetry reflects the cultural duality that surrounded him in his formative years. There are poems, such as his sonnets, that only someone who was immersed in European culture could have written. There are also poems such as “Man of Water” and “Marimba Played by Indians” that only someone acquainted with Mayan culture could write. Asturias gained a firsthand acquaintance with Mayan Indian culture in early childhood as he listened to Lola Reyes, a Mayan servant in his home, tell traditional indigenous and mestizo tales; later, he read the ancient Mayan texts.
Political Oppression The President protests against dictatorship. Its setting is not specific but could reflect many Latin American countries of the mid-twentieth century. This novel portrays a prototypical military dictator and the repression, humiliation, unjust imprisonment, degradation, and even the murders of his opponents or of those who momentarily displease him. A nightmarish horror permeates this novel both in the scenes it depicts and in the actions it relates. Although many critics regard this novel as a representation of a generic Latin American dictatorship, it is also widely accepted that it is based on the dictatorship of Estrada Cabrera, who controlled Guatemala for twenty years. This novel is responsible for Asturias's fame throughout the Americas and eventually the world, because it is much more than just a novel of political criticism. There are passages of poetic language and, as in his poetry, legends and myths from Mayan culture.
Considered an early practitioner of magic realism, Asturias influenced the “Boom” generation of writers and many of the Latin American modernists who followed him.
LITERARY AND HISTORICAL CONTEMPORARIES
Asturias's famous contemporaries include:
Estrada Cabrera (1857–1923): President of Guatemala from 1898 to 1920, a time when the United Fruit Company was a powerful political influence.
Porfirio Díaz (1830–1915): President of Mexico from 1876 to 1880 and 1884 to 1911 and a famous war hero.
Paul Valéry (1871–1945): French poet and philosopher whom Asturias befriended in Paris.
Juan Perón (1895–1974): Controversial Argentine president and founder of the authoritarian movement of Peronism.
André Breton (1896–1966): French writer considered one of the founders of surrealism.
Works in Critical Context
Critics have often praised Asturias's work for its commitment to social causes and its innovative use of myth, legend, and surrealist techniques. However, his ever-popular works have undergone a critical reevaluation in the light of recent
literary theories, and taking into consideration the directions in which Latin American fiction has developed since his death in 1974. New scrutiny may result in a different vision of his contribution to world literature, but it is also clear that his place among the most important Latin American novelists of this century is assured.
The President In 1968, The President was acclaimed for portraying both totalitarian government and its damaging psychological effects. Asturias's stance against all forms of injustice in Guatemala caused critics to view the author as a compassionate spokesman for the oppressed. “Asturias … does not see the drama of his people from the outside, as a dilettante … but from the inside, as a participant,” noted Les Temps Modernes contributor Manuel Tunon de Lara. And a Times Literary Supplement review, also commenting on Asturias's success in portraying the country's unique political circumstances, asserted that El seńor presidente presents “Latin American problems according to their merits and not according to preconceived stereotypes.”
Men of Maize While Men of Maize was coolly received at the time of its publication in 1949, many critics have come to view the work as Asturias's masterpiece. Reviewers especially admired the author's portrayal of the contrasting conceptions of the world. “At one level,” noted Washington Post Book World reviewer Patrick Breslin, the book is “symbolic of the Spanish conquest itself. The social and economic order violently introduced by the Spanish four and a half centuries ago is still tenuous, not only in the highlands of Guatemala, but throughout the Andes of South America as well.”
Responses to Literature
Find three Mayan legends from any of Asturias's works. How does he use the legends to make the modern elements of the stories more resonant or meaningful?
Explain how Asturias's political views are revealed in The President. Cite at least five specific passages that seem to contain an explicit or implicit political argument.
Research the United Fruit Company and compare it to Tropical Banana, Inc., Asturias's fictionalized fruit company in his “Banana Trilogy.” Did Asturias use real-world events as the inspiration for his novels? Did the author change certain real-world elements, either for dramatic effect or to avoid backlash from the powerful banana-growing industry?
How do you think Asturias's time in Paris among surrealist writers influenced his work? Find examples of surrealism in The President.
Can you make a claim for Men of Maize's being more of a surrealistic text than a legend-based one? What is the difference?
COMMON HUMAN EXPERIENCE
In most of his books, Asturias uses legends from his Guatemalan culture to enrich his writing. Because so much literature is based on oral traditions and tales, readers often feel connected to the stories they heard as children in the cultures in which they were raised. Here are a few other works that employ cultural myths and legends.
Cry the Beloved Country (1948), a novel by Alan Paton. Issues of apartheid permeate this novel, set in South Africa and heavily influenced by Christian stories from the King James Bible.
Master and Margarita (1967), a novel by Mikhail Bulgakov. This novel about Communist Russia is populated by mythical characters such as Satan, Faust, and a group of witches.
Almanac of the Dead (1991), a novel by Leslie Marmon Silko. Silko, a Laguna Pueblo writer, sets her novel in the United States and Central America and uses myths and storytelling to unite characters.
Green Grass, Running Water (1993), a novel by Thomas King. In this novel, the author uses the character of Coyote, a legendary trickster, to advance the plot.
BIBLIOGRAPHY
Books
Álvarez, Luis López. Conversations with Miguel Angel Asturias. Madrid: EMESA, 1974.
Callan, Richard J. Miguel Ángel Asturias. Boston: Twayne, 1970.
de Scheel, Ruth Alvarez. Análisis y estudio de algunos rasgos caracterizadores de “El Señor Presidente”. Guatemala City: Ministerio de Cultura y Deportes, 1999.
Henighan, Stephen. Assuming the Light: The Parisian Literary Apprenticeship of Miguel Ángel Asturias. Oxford: Legenda, 1999.
Hill, Eladia León. Miguel Ángel Asturias: Lo ancestral en su obra literaria. Eastchester, N.Y.: E. Torres, 1972.
Palma, Francisco Albizúrez Palma. La novela de Asturias. Guatemala City: Editorial Universitaria, 1975.
Prieto, René. Miguel Ángel Asturias's Archaeology of Return. New York: Cambridge University Press, 1993.
Periodicals
Bellini, Giuseppe. “La poesía de Miguel Ángel Asturias.” Revista Nacional de Cultura 180 (April–June 1967): 125–27.
Campos, Jorge. “Miguel Ángel Asturias.” Ínsula (1957): vol. 12, no. 133, p. 4.
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/asturias-miguel-angel-1899-1974-writer-statesman
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Asturias, Miguel Angel: 1899-1974: Writer, Statesman
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Miguel Angel Asturias: 1899-1974: Writer, statesman
Miguel Angel Asturias was both a writer and a social champion. Source for information on Asturias, Miguel Angel: 1899-1974: Writer, Statesman: Contemporary Hispanic Biography dictionary.
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Miguel Angel Asturias: 1899-1974: Writer, statesman
Miguel Angel Asturias was both a writer and a social champion. He spent his life fighting for the rights of Indians, for the freedom of Latin American countries from both dictatorships and outside influences—especially the United States—and for a more even distribution of wealth. He wrote mainly about the ancient Quiche culture. He was best known for his novels, such as El senor presidente and Hombres de maiz, but he was also a notable short-story writer, poet, dramatist, and translator. He won the Nobel Prize for literature in 1967.
Asturias was born a year after the dictator Manuel Estrada Cabrera came to power in Guatemala. Born October 19, 1899, in Guatemala City, to Ernesto Asturias, an attorney and district court judge, and Maria Rosales de Asturias, a teacher, Asturias lived a life full of political intrigue and saw many changes of government in his home country. After Ernesto Asturias dismissed a case against some medical students who were protesting the Cabrera regime, he was dismissed from his judicial position and disenfranchised, and he and his family were forced to flee Guatemala City. They went to the small town of Salama where some of the Asturias' Indian relatives lived. It was during this time of exile that Asturias learned about the Mayan culture from his mother and his Indian nanny, Lola Reyes. He learned many things at this time that would later appear in his writing. The Asturias family returned to Guatemala City in 1906 at which time Asturias' father became a sugar and flour importer. In an interview translated in Review magazine, Asturias recalled how he started writing. "I wanted to be a writer, and I became one when the great earthquake [at 10:20pm on December 25, 1917] destroyed Guatemala City. During that period I wrote my first poems and my first short stories. Someone even saw fit to publish them."
After finishing high school, Asturias went to college and received his degree in law from the Universidad de San Carlos de Guatemala. His graduate thesis Sociologia guatemalteca: El problema social del indio (Guatemalan Sociology) won him both the Premio Galvez and the Chavez Prize for his lively prose. He also co-founded the Universidad Popular de Guatemala (People's University), a place where lawyers, engineers, and doctors conducted free classes for workers and peasants. His leftist political views under the regime of president Jose Maria Orellana led to a brief imprisonment. He was sent to London by his father partly to get him out of harm's way and partly to study international law and economics. He quickly found himself, however, more engrossed with the Mayan materials at the British Museum than his studies and soon after moved to Paris to study anthropology instead.
At a Glance . . .
Born on October 19, 1899, in Guatemala City, Guatemala; died on June 9, 1974, in Madrid, Spain; married Clemencia Amado, 1939 (divorced); married Blanca Mora y Araujo, 1950; children: Rodrigo and Miguel Angel. Education: Universidad de San Carlos de Guatemala, Doctor of Laws, 1923; attended the Sorbonne, University of Paris, 1923-28.
Career: Diplomat and writer. Journalist, 1923-32, 33-42; Guatemalan national congress, deputy, 1942; Guatemalan diplomatic service, attache to Mexico, 1946-47, attache to Argentina, 1947-52, diplomat in Paris, 1952-53, ambassador to El Salvador, 1953-54, ambassador to France, 1966-70.
Memberships: Co-founder of Universidad Popular de Guatemala, 1921, and of Associacion de Estudiantes Universitarios; International PEN.
Awards: Premio Galvez, 1923; Chavez Prize, 1923; Prix Sylla Monsegur, for Leyendas de Guatemala, 1931; Prix du Meilleur Roman Etranger, for El senor presidente, 1952; International Lenin Peace Prize from USSR, for Viento fuerte, El papa verde, and Los ojos de los enterrados, 1966; Nobel Prize for literature from Swedish Academy, 1967.
While he was in Paris, Asturias met many notable literary and scholarly figures, including Ramon del Valle-Inclan, Miguel de Unamuno, James Joyce, Andre Breton, Pablo Picasso, Alejo Carpentier, Tristan Tzara, Pablo Neruda, Robert Desnos, Alfonso Reyes, Arturo Uslar Pietri, and Louis Aragon. He studied at the Sorbonne with another famous scholar, Georges Raynaud—a specialist in Mayan culture. Raynaud had translated the Popol Vuh, a sacred Mayan text, from the original language into French, and later, under his tutelage, Asturias translated the book from French into Spanish.
Around the same time, Asturias published a book of stories called Leyendas de Guatemala, a collection of Indian tales. Asturias categorized the book, a mix of Indian lore and realism, as "magical realism." In an interview translated in Review magazine, Asturias described what this term meant: "An Indian, or a mestizo, someone who lives in a small village, tells of having seen how a cloud or an enormous stone changed into a person or into a giant, or how the cloud became a stone…. The Indian thinks in images. He does not see things in process, but he always displaces them into another dimension, in which we see the real disappear and the dream emerge, in which dreams are transformed into tangible and visible reality."
Asturias returned to Guatemala in 1933 during the regime of Jorge Ubico. He spent his time during Ubico's term in office writing poetry and supporting himself with journalism and a professorial post. In 1939 he married Clemencia Amado, with whom he eventually had two sons, Rodrigo and Miguel Angel (the couple divorced in 1947). In 1946, when a more liberal government had taken power, Asturias published the book El senor presidente, a novel originally written in protest of the dictatorship of Manuel Estrada Cabrera, but which came to be applied toward the horrors perpetrated by every dictator who ever ruled over a Central American country. It has been called an affecting story of a nation that was controlled by terror. He had been working on the book since 1922.
From 1946 to 1954 Asturias served as Guatemalan ambassador to Mexico, Argentina, and El Salvador. He continued to publish during this time. Hombres de maiz was a six-part novel about Indian cultures' problems when faced with progressive modern technology. It was a novel filled with magic and metaphor he learned during his time with the Mayans. The Latin American Literary Review said of Asturias' writing, "[Far] too taken with existence, his own existence, to actively and sympathetically become engrossed with Europe's post-war hassles, Miguel Angel promptly disrobed reality of her austere dress and affectionately arrayed her in the sensual, colorful, transparent silks of his mind's fancy."
He next wrote a trilogy of books all concerned with oppressive North American influences on Central American workers. Viento fuerte (Strong Wind), El papa verde (The Green Pope), and Los ojos de los enterrados (The Eyes of the Interred), have often been found by critics to be aggressive and lacking in the magical poetic quality of Asturias' other works, although they remained three of Asturias' favorite works. The same is true of the book of short stories titled Weekend en Guatemala, a collection of angry stories concerning the invasion of exiled leader Carlos Castillo Armas, who Asturias contended had the help of the United States. In an interview translated in Review, Asturias said of the trilogy, "The trilogy means a lot to me because there was an existential conscientiousness in its origin that I hadn't previously taken very seriously. When I faced the reality of the plantations, my conscience awoke. And that was the reality of my country, not an invention of mine; it was in no way imaginary.
I repeat: it was the reality of my country that reduced me to a state of despair and forced me to tell myself and others what is contained in these novels."
Asturias, after divorcing his first wife, met and married his second wife, Blanca Mora y Araujo, in 1950. She was Argentinian, so when Asturias was deported in 1954 and lost his Guatemalan citizenship, he went to live in Buenos Aires. He lived there for eight years before the political situation became too dangerous for his family, and then he and his wife headed for Europe. They eventually settled in Paris. He is said to have credited his second wife with making him believe in life again after a long spell of disenchantment.
Asturias and his wife were living in Genoa when his novel Mulata de tal was published. According to I&L, "Miguel Angel Asturias' Mulata de tal is carnival incarnated in the novel. A ribald bacchannalia, it represents a collision between Mayan Mardi Gras and Hispanic baroque. This is a book where masks and metamorphosis are the norm; punning, the lingua franca; and sexual fantasy and farce, the common denominator of all relationships." It was said by the Hispanic Review to be "sufficiently obvious that the whole art of this novel rests upon its language. In general, Asturias matches the visual freedom of the cartoon by using every resource the Spanish language offers him. His use of color is striking and immeasur-ably more liberal than in earlier novels."
In 1966 Asturias won the Lenin Peace Prize and was also named the Guatemalan ambassador to France by the new government of President Julio Mendez Montenegro. He won the Nobel Prize for literature in 1967. After his death in 1974, Guatemala established an award in his name, the Miguel Angel Asturias Order. He was a man who believed deeply in maintaining Native American culture in Guatemala, and who championed those who were persecuted. His literature was critically acclaimed, but perhaps not always appreciated. According to The Review of Contemporary Fiction, "As an artist, his complexity is such that readers and critics often shy away from his elegant beauty." His magical realism wove a spell around readers, and it is to be believed his works will be appreciated for years to come.
Sources
Books
Contemporary Authors, Gale, 2001.
Dictionary of Hispanic Biography, Gale, 1996.
Dictionary of Literary Biography, Volume 113: Modern Latin-American Fiction Writers, First Series, Gale, 1992, pp. 37-47.
Encyclopedia of World Biography, 2nd edition, Gale, 1998.
Reference Guide to World Literature, 2nd edition, St. James Press, 1995.
Periodicals
Booklist, March 1, 2001, p. 1234.
Comparative Literature Studies, Summer 1996, p. 280.
Hispanic Review, Spring 1973, pp. 397-415.
I & L, September-October 1983, pp. 146-162.
Latin American Literary Review, Fall-Winter 1973, pp. 85-104.
Library Journal, October 1, 1977, p. 127.
Los Angeles Times, February 11, 1998, p. 2
Review, Fall 1975, pp. 5-11, 12-22.
Review of Contemporary Fiction, Fall 1995, p. 235.
Romance Notes, Autumn 1970, pp. 62-67.
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https://www.asymptotejournal.com/special-feature/paul-worley-on-humberto-akabal/
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Stories Are All We Are
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To quote the writer of mixed Cherokee, Greek, and German descent Thomas King, “stories are all we are,” and it is no exaggeration to say that the story of K’iche’ Maya poet Humberto Ak’abal’s sudden passing on January 28, 2019 was felt throughout the Americas. Few
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To quote the writer of mixed Cherokee, Greek, and German descent Thomas King, “stories are all we are,” and it is no exaggeration to say that the story of K’iche’ Maya poet Humberto Ak’abal’s sudden passing on January 28, 2019 was felt throughout the Americas. Few writers in the Western Hemisphere are held in higher regard for their poetic talents and style than Ak’abal. After his poetic career began in 1990 with the publication of El animalero (translated into English by Miguel Rivera as The Animal Gathering in 2008), Ak’abal quickly rose to international acclaim as one of contemporary literature’s most important Indigenous voices. His recent passing was immediately mourned by luminaries such as the Wayuu poet Vito Apüshana (aka Miguel Ángel López), and his loss continues to reverberate as poets, readers, and scholars prepare to attend this year’s Guatemalan International Book Fair, which organizers had originally planned to hold with Ak’abal as a guest of honor. His death no doubt means the celebration will take on a much more somber tone. In other words, although Ak’abal is no longer with us, in many ways his story will continue.
Ak’abal was born in the town of Momostenango, Totonicapán in 1952, two years before a CIA-backed coup would overthrow Guatemala’s democratically elected government and eventually plunge the country into a decades-long civil war in which Maya peoples were the targets of military violence. The poet’s upbringing hardly presaged a literary career, much less that he would become perhaps the most translated and most anthologized Maya writer of the 20th century. As Gloria Chacón writes of his early life, he ceased formal schooling as an adolescent, working as both a weaver and a shepherd in his hometown before migrating to Guatemala City to look for better compensated work. Despite the cosmopolitan tone struck by works like his Gaviota y sueño: Venezia es un barco de piedra (2000; Seagulls and Dreams: Venice is a Stone Boat), pastoral scenes and aspects of Maya cosmology associated with people, places, and things drawn from his hometown remained a constant throughout his career. Indeed, perhaps more so than any other Maya writer of his generation, he deftly moved between overlapping worlds and identities. Poetically, he oscillated between K’iche’ and Spanish, at times publishing monolingually in one of those languages, at others bilingually in both, and, as outlined below, experimenting with untranslatable onomatopoeic sounds and expressions. He celebrated and dignified the everyday, but never failed to cast an unflinching gaze on the poverty and discrimination faced by Maya peoples in Guatemala in both his poetic work and his public life. And despite the larger-than-life persona he achieved, in poetry and in person he was self-deprecating and funny.
That said, it would be remiss not to mention the profound impact that racism had on Ak’abal’s life and career. On a professional level, most of his work was written in Spanish due to the fact that, like most Indigenous poets of his generation throughout the Americas, learning to read or write in his mother tongue, K’iche’, was never part of his formal schooling. Even so, early in his career Ak’abal showed a commitment to writing and publishing in both languages. For example, although I’ve been unable to locate a first edition of El animalero, to see which languages it was published in, one of its poems, “El Clarinero” (“Bluejay”) appeared in a bilingual K’iche’/Spanish format in the literary magazine Abrapalabra in 1993. That same year Ak’abal’s award-winning Guardian de la caída del Agua (Guardian of the Waterfall) came out in monolingual Spanish. Of course, regardless of the poet’s intentions or linguistic activism the realities of Indigenous-language publishing limit the size and scope of Indigenous-language texts. On the one hand, larger publishers with the means to publish bilingually see bilingual texts as having a limited audience. On the other, smaller, more activist presses that do publish bilingually do so in small print runs and with limited access to national and international distribution networks. Underscoring these points, Ak’abal’s fully bilingual Ajkem tzij/Tejedor de palabras (1996; Weaver of Words), is over 500 pages long and was published by one of Guatemala’s leading publishers of Maya literature, Cholsamaj. WorldCat lists a scant 45 copies in libraries around the globe and, despite the fact I am supposedly an expert in the field who would gladly purchase a copy if I could find one, my “copy” is a pdf file.
Despite the fact that a lot of his work reads as less political than that of younger writers such as Kaqchikel poet Rosa Chavéz or K’iche’ author Manuel Tzoc, Ak’abal’s approach demonstrates a profound awareness of his time and the larger framework of the racist society in which he wrote. Ak’abal not only filled his work with untranslated words from K’iche’ and made Maya cultural references that require his readers to engage Guatemala as a plurilingual and pluriethnic space, but also wore traditional Maya woven garments as a way to defy representations of what and who a Guatemalan literary figure could be. The most telling example of this awareness is perhaps his famous (though in Guatemala more infamous than famous) 2004 refusal to accept Guatemala’s highest literary honor, the Premio nacional de literatura ‘Miguel Ángel Asturias,’ a prize named for Guatemala’s first Nobel Laureate and its foremost literary figure. Despite the prestige of the award, Ak’abal found that he could not accept an award named for Asturias, who had written a Master’s thesis entitled, “El problem social del Indio” (“The Indian Problem”). When asked about this in an interview with BBC Mundo, he stated that, “Among other things, in his thesis he says a number of offensive things about Indigenous peoples in Guatemala. He describes us in derogatory and pejorative terms, like calling us a race of people whose time has passed. Since the prize bears his name, for me receiving it isn’t an honor because I am from the people he denigrated.”
I have always found Ak’abal’s work compelling for its intensity of language, its inversions and turns of phrase, and, like many others, his innovative use of onomatopoeia. Take, for example, the short lines of the bilingual poem “Naj/Lejanía”:
Distance
Everything is far away
in such a tiny country:
food,
school,
clothing….
In the tradition of poets like the Peruvian Cesar Vallejo, here Ak’abal uses unthreatening, everyday words whose juxtaposition increases the tension within the poem. Geographic distance belies economic distance, foreclosing any future that would otherwise be implied by the ellipsis on which the poem ends. Perhaps not unrelated to the Andean concept of pachakuti or “world upside down,” such inversions often serve to challenge what outsiders know or think they know about Indigenous peoples and cultures. For instance, the poem “The Mecapal” (literally a tumpline worn across the forehead that is attached to a load on one’s back) upends romantic notions of the Indigenous laborer carrying a load on her/his back within the space of a few short words.
The Mecapal
For Us
for Us
Indians
heaven ends
where the mecapal
begins
On the one hand, the mecapal becomes synecdoche for a host of racist, abusive labor practices throughout the hemisphere. On the other, it speaks to how existing Indigenous systems of labor, culture, and knowledge have been co-opted under colonialism, with autochthonous elements like the mecapal, which takes its name from Náhuatl, becoming themselves sites of oppression. Moreover, note that the poet does not name what, exactly, begins with the mecapal, only that heaven ends there. Of course, this opens up an expansive notion of heaven and pleasure that exists beyond colonial burdens, while simultaneously pushing the reader to acknowledge colonialism’s harsh limitations.
Finally, any mention of Ak’abal’s work would be woefully incomplete without a foray into his innovative approach to onomatopoeia, something better explained or witnessed than represented. At last March’s 2018 Continental Intercultural Gathering of Amerindian Literatures (EILA) in Bogotá, Colombia, I saw him read several poems consisting entirely of bird names in K’iche’, names that, when repeated aloud, mimic an actual sound associated with a particular bird. “Ts’unun” or “Hummingbird,” for example, both designates that bird and approximates the sound a hummingbird makes as it flies back and forth. These can be experienced through this recording of his “Bird Song” cycle here. I was also fortunate enough to hear another of his earlier and most famous poems, “Xalolilo lelele” (from El animalero) when a number of EILA attendees went on a hike to the sacred lake of Guatavita. With the Yanakuna poet Fredy Chicangana playing the flute, Ak’abal’s poem of sounds echoed across the water and the mountains, sounds mixing with sounds in the rain, a sound-image that I will always have of him and of that moment.
Humberto Ak’abal the person was every bit the nuanced work that the author’s own oeuvre can be said to be: at turns warm, open, friendly, generous, quick-witted and sharp-tongued. Above all else, despite being universally acknowledged by scholars, critics, and many of his fellow poets as one of the 20th and 21st century’s foremost Indigenous writers, Ak’abal was humble and generous with his time. When I approached him about submitting work for a translation project, he sent in several poems on the condition that, should there be space limitations, I reduce the number of his poems included instead of cutting the work of other poets. In terms of performance, his legacy lives on in the multimedia, stylized performances of the aforementioned Maya poets Rosa Chávez and Manuel Tzoc, as well as in the Tsotsil poet Xun Betan, and the Yucatec writer Sol Ceh Moo. Thematically, Yucatec poets like Donny Brito continue to demonstrate the relevance of Maya ways of knowing through their writing, and support he showed to younger writers like the Broran writer Jarol Segura will no doubt be passed down to the next generation of Indigenous writers.
Since “stories are all we are,” I’d like to close with my own story of meeting Ak’abal. After several days in Bogotá several EILA participants and I were in a van on our way to participate in additional events in the Guajira, when Ak’abal showed us a cellphone picture that someone had taken of him, and that he really liked. When it came to me I jokingly said, “Of course it looks great! It’s also the first time the whole trip I’ve seen you without a beer,” to which he laughingly replied, “You ingrate! Who are you to say something like that?” For the rest of the trip he not only recounted this story every time the two of us sat down with someone who hadn’t already heard it, but he also referred to me as “ese ingrato,” or “that ingrate” up until the moment we parted ways in Bogotá’s El Dorado International Airport, he heading for Guatemala and I back to Mexico. We had discussed potential future collaborations, including getting together at Guatemala’s 2019 International Book Fair. We may have also discussed drinking a few more beers. And while I am grateful for having met him, my takeaway from briefly knowing Humberto Ak’abal is that we are likely never quite grateful enough for the people in our lives. Perhaps part of the human condition is that the kindnesses we receive can never fully be returned. Ak’abal gave me a story that still makes me laugh, and the best I can do is to share it with you. We are, forever and always, “ingratos,” and the true genius of a poet like Ak’abal is that, despite having given us so much, he left us wanting more. U láak k’íin, kaambesaj.
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https://www.nndb.com/people/766/000113427/
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Miguel Ángel Asturias
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Born: 19-Oct-1899
Birthplace: Guatemala City, Guatemala
Died: 9-Jun-1974
Location of death: Madrid, Spain
Cause of death: unspecified
Remains: Buried, Cimetière du Père Lachaise, Paris, France
Gender: Male
Race or Ethnicity: Hispanic
Sexual orientation: Straight
Occupation: Author, Diplomat
Nationality: Guatemala
Executive summary: Guatemalan protest writer
Guatemalan author Miguel Ángel Asturias had little patience with fiction written merely to entertain, believing instead that writing worth reading must serve a moral or political purpose. His passions were the rights of the Mayans and other Latin American natives, and a fierce indignation that his and other nations in the region were ruled by dictatorships or by proxy governments controlled by the United States. His novel El Señor Presidente (Mr President) was meant as a blistering attack on the regime of Manuel Estrada Cabrera, but can easily be read as a broader attack on dictatorships across Central and South America. His Hombres de Maiz (Men of Maize) illuminated the challenges of Mayans in adapting to modern technology, and El Papa Verde (The Green Pope) exposed the overbearing brutality of the United Fruit Company. He won the Nobel Prize for Literature in 1967.
At the age of 22 he was a founder of the Popular University of Guatemala, a college for students unable to afford tuition at traditional colleges. He spent many years working as a reporter, and endured several extended stretches in exile from his native Guatemala over his political views. During more progressive times in his country he served in the diplomatic corps, with assignments in Mexico, Argentina, El Salvador, and France. His son, Rodrigo Asturias, became a guerrilla leader in Guatemala's long civil war, infamous under the alter ego Gaspar Ilom a name borrowed from his father's novel Hombres de Maíz.
Father: Ernesto Asturias (spice importer)
Mother: Maria Rosales de Asturias (teacher)
Wife: Clemencia Amado (m. 1939, div. 1947, two sons)
Son: Rodrigo (guerrilla commander, "Gaspar Ilom", b. 1939, d. 2005)
Son: Miguel Angel
Wife: Blanca Mora y Araujo (m. 1950)
Law School: Universidad de San Carlos de Guatemala (1923)
Scholar: Anthropology, Sorbonne (1925-28)
Administrator: Co-Founder, Popular University of Guatemala (1921)
Chavez Prize 1923
Galvez Award 1923
Lenin Peace Prize 1966
Nobel Prize for Literature 1967
Guatemalan Ambassador to France (1966-70)
Guatemalan Ambassador to El Salvador (1953-54)
Guatemalan Attache to France (1952-53)
Guatemalan Attache to Argentina (1947-52)
Guatemalan Attache to Mexico (1946-47)
Exiled 1954
Author of books:
La Arquitectura de la Vida Nueva (Architecture of the New Life) (1928, essays)
Leyendas de Guatemala (Legends of Guatemala) (1930, short stories)
Sonetos (Sonnets) (1936, poetry)
El Señor Presidente (Mr. President) (1946, novel)
Hombres de Maíz (Men of Maize) (1949, novel)
Viento Fuerte (Strong Wind) (1950, novel)
El Papa Verde (The Green Pope) (1954, novel)
Weekend en Guatemala (Weekend in Guatemala) (1956, short stories)
Los Ojos de los Enterrados (The Eyes of the Interred) (1960, novel)
Obras Completas (Complete Works) (1967, anthology)
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https://www.theguardian.com/books/2018/jan/08/nobel-archives-show-graham-greene-might-have-won-1967-prize
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Nobel archives show Graham Greene might have won 1967 prize
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2018-01-08T00:00:00
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Swedish Academy reveals 70 authors were being considered, with the Brighton Rock novelist backed by the chairman before losing out to Miguel Angel Asturias
|
en
|
the Guardian
|
https://www.theguardian.com/books/2018/jan/08/nobel-archives-show-graham-greene-might-have-won-1967-prize
|
Graham Greene and Jorge Luis Borges were serious contenders for the Nobel prize for literature in 1967, newly opened archives have revealed.
The Nobel prize nominations are only made public 50 years after the prize is awarded. The 1967 papers reveal the machinations that went on among the Nobel committee in choosing Guatemala’s Miguel Angel Asturias as their winner, an author they praised “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”.
Seventy writers were nominated for the award, according to a document released by the Swedish Academy, among them Samuel Beckett, Saul Bellow, Lawrence Durrell, EM Forster, Georges Simenon, Ezra Pound and JRR Tolkien. But digging through the archives, the Svenska Dagbladet reveals that only a handful were in serious contention, including Borges, Asturias, Greene, WH Auden and the Japanese author Yasunari Kawabata, who would win the following year.
Greene was supported by the committee’s chairman, Anders Osterling, who called him “an accomplished observer whose experience encompasses a global diversity of external environments, and above all the mysterious aspects of the inner world, human conscience, anxiety and nightmares”. Osterling had doubts, writes Kaj Schueler, about the two Latin American authors, calling Asturias “too narrowly limited in his revolutionary subject world”, and Borges “too exclusive or artificial in his ingenious miniature art”.
Three other committee members disagreed, and Asturias would go on to take the prize. Schueler speculates that Greene may have lost support “because the academy slowly was orienting itself towards a more global outlook – it was after all the second half of the 1960s and the climate in western societies was more interested in everything outside Europe”. The Nobel committee never honoured Greene or Borges, two authors who are still widely read, while Asturias’s titles are more scarce.
Schueler said: “It is really exciting, and somewhat frustrating, to look into the old Nobel committee papers. Exciting because, if you are interested in history, you at least get some knowledge of the process, of different opinions and views. And it is really a journey back in history, in literary values of the time, in ways of expressing literary thoughts. When you read the material you also, if you are lucky, can sort of relive those years. But it is also frustrating because the papers from the Nobel committee only give you part of the answers.”
|
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correct_award_00058
|
FactBench
|
0
| 1
|
https://www.nobelprize.org/prizes/literature/1967/asturias/documentary/
|
en
|
Miguel Angel Asturias – Documentary
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1967/asturias/documentary/
|
Miguel Angel Asturias
Documentary
Credit: ITN Archive/Reuters
|
|||||
correct_award_00058
|
FactBench
|
0
| 92
|
https://www.thenation.com/article/culture/my-president-mario-vargas-llosa/
|
en
|
Miguel Ángel Asturias’s Struggle Between Good and Evil
|
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[
"Mario Vargas Llosa",
"D.D. Guttenplan",
"Marc Murphy",
"Gary Taxali",
"Jeet Heer",
"Chris Lehmann",
"John Nichols",
"The Nation",
"Mychal Denzel Smith",
"www.thenation.com"
] |
2022-07-05T09:00:02+00:00
|
The Nation Magazine
|
en
|
https://www.thenation.com/wp-content/themes/thenation-2023/images/favicon.ico?ver=3.0
|
The Nation
|
https://www.thenation.com/article/culture/my-president-mario-vargas-llosa/
|
Mr. President grew out of “Political Beggars,” a short story that Miguel Ángel Asturias wrote in December 1922 before leaving Guatemala for Europe. The novel was first published in 1946 in an edition full of errors that Asturias corrected for the second edition (Buenos Aires: Editorial Losada, 1948). Indeed, he worked longer on this novel than on any other of his published books, even though he had abandoned the manuscript for long periods of time. The novel carried this annotation: “Paris, November 1923–December 8, 1932.” According to most critics, and the author’s own account, this novel was inspired by the dictatorship of Manuel Estrada Cabrera, who ruled as lord and master of Guatemala for 22 years, from 1898 to 1920.
At the behest of family friends, Asturias had gone to London in 1923 to study economics. He suddenly had a change of heart and went to Paris to take classes at the Sorbonne with Professor Georges Raynaud. It was in Raynaud’s courses that he discovered Mayan culture and spent years translating the Popol Vuh, the sacred book of the Mayas. In Paris he wrote poems and the novel Legends of Guatemala (1930), and also continued working on Mr. President, which was almost completely written in France.
There’s a certain confusion about this novel, to which Asturias himself contributed. At the time, he championed social and protest fiction, the kind that revealed the horrors that Latin American dictators had committed. On many occasions, he claimed that his book belonged to the genre of politically engaged novels.
Undoubtedly, this is one important aspect of Mr. President. The novel deals with prototypical Latin American realist or local color themes, based on the dramatic historical circumstance that dictators ruled most Latin America countries. But even though Asturias’s novel depicts this constant and recurring reality, it surely isn’t its most important aspect, or this lively story wouldn’t have stood out from these somewhat un-sophisticated novels or survived the test of time.
To be sure, like many other Latin American novels, Mr. President fits in the category of the politically engaged novel. It depicts the havoc that dictatorships play in triggering human tragedies, economic catastrophes, and corruption in our countries. But Asturias does this in a unique way, frequently employing subtle, original, and unusual literary devices, without displaying the formal weaknesses and shortcomings often found in Latin American protest literature. More important, he does this in a much broader context than the typical social or political testimonial novel.
Asturias frames his novel as the struggle between good and evil in an underdeveloped society where evil seems to triumph. There isn’t a single character in the novel that is saved—not even the young Camila, who is blackmailed into marrying the dictator’s favorite confidant: the handsome Miguel Angel Face. She even attends a reception in the palace of the president who has imprisoned her father, the exiled General Eusebio Canales, the supposed murderer of Colonel Parrales Sonriente and who ends up poisoned near the novel’s conclusion. All the characters—whether they are soldiers, judges, politicians, wealthy or poor, the powerful or the downtrodden—epitomize evil. They are thieves, cynics, opportunists, liars, corrupt or violent individuals, drunkards, servants—in short, among the most repugnant and disgusting of human beings. And probably even Mr. President—who decides who is to live and who is to die and is a drunkard, a traitor, the mastermind of hundreds of twisted intrigues—isn’t the worst of all. That designation goes to either his judge advocate or Major Farfán, who, on orders of the head of state, perpetrate the most violent, outrageous crimes: the former when he questions, humiliates, and punishes Fedina de Rodas for crimes committed by her husband, Genaro, against the Dimwit; and the latter, by detaining Miguel Angel Face at the harbor as he’s about to leave for New York on presidential orders. Miguel is arrested, beaten mercilessly, and buried in an underground dungeon where he has only two hours of light each day. He is fed filth and survives by slowly rotting, dying little by little while his wife, Camila, contacts diplomats and politicians all over the world, even in Singapore, hoping he is safe only to learn, too late, that Angel Face is also a victim of a monster who controls everything—lives, deaths, and taxes are within his realm—with his little finger.
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What is unique and what transforms this demonic book filled with hideous episodes is Asturias’s artistry, which is made evident by the novel’s formal structure and its original use of language.
Mr. President is qualitatively better than all previous Spanish-language novels. Marvelously controlled, the novel’s language owes much to Professor Reynaud’s lectures on surrealism and other avant-garde movements in vogue in France while Asturias was writing it. No doubt he was also deeply affected by nostalgia for his far-off country at the other end of the world and the many years he had been away from Guatemala getting together with his South American friends at Montparnasse’s Café de la Rotonde. His work was influenced by automatic writing, the mixing of reality and dreams—nightmares, I should say—an unusual poetic musicality, and the merging of forms that convert history into a grand novelistic and poetic spectacle and where reality becomes street theater and apocalyptical fantasy at every turn.
The first chapter, “In the Portal del Señor,” is unforgettable. A swirl of one-armed, one-eyed, blind, crippled beggars have been reduced to the most primitive bestiality and mistreat one another with the deepest of misery and savagery. Pelele—the Dimwit—is one of them; this poor devil is later needlessly killed by Lucio Vásquez. At the book’s end, the dictatorship remains intact—of course, the Portal del Señor is destroyed, but the hideous system it symbolizes is not.
Asturias’s language is multifaceted and not the Spanish that all the characters in the story utilize. Despite their lack of decency, the upper classes speak a more or less correct Spanish. This is also the case for Angel Face, Camila, a handful of ministers and officers, and even Mr. President. But as the novel explores the language of the lower classes, the richness and invention of expression increases and shifts, introducing invented words, songs, audacious grammatical renderings, astonishing metaphors, rhythms, terms generally associated with native insects, plants, and trees. A provincial world of untamed nature not yet dominated by man is depicted in a country that finds itself isolated and changing slowly, before the advent of cars and airplanes, and in which a trip to New York involves a long train ride and boat journey. Guatemala isn’t mentioned even once, but that doesn’t matter—everything points to that unfortunate, yet beautiful country: the capital is far from the ocean, surrounded by rivers, jungles, and volcanoes. Its unfortunate citizens would know only hideous dictatorships until long after the novel ends—at least until 1950—and incorporate into their thoughts and diction an extraordinary glibness, inventing words, fantasizing and improvising as they speak, endlessly creating in everything they say and exclaim, thus transforming reality into enchantment—a hellish one at that—where time goes in circles, around itself, as in a nightmare. Life is depicted as a theatrical tragedy repeated endlessly and where human beings are merely actors and, at times, mythical characters. Chapter XXXVII, “Tohil’s Dance,” in particular, is more like a painting or mural inspired by the distant ancestors of the K’iche’ Maya archeological past, a historical reminiscence that connects to Guatemala’s rich history. All of the other chapters correspond to an updated present in which a humble, isolated, and primitive people—subjected to the indescribable horrors of a brutal, incarcerating regime—live in abject poverty. But there’s something that supports the country’s people and keeps it from vanishing: the vital and extraordinary strength with which they withstand mistreatment and humiliation, a tragic existence steeped in muck, jungle, and animals and in the hugely creative way they survive and employ language. Despite the depths of its social and political disgrace, its people are capable, nonetheless, of creating and taking on a distinct personality, inventing a new language, music and rhythms that shape it, and which makes it unique and guarantees its survival.
Asturias achieved something unique in this novel. Its linguistic beauty is part of the historical truth: the Guatemalan way of speaking is creative and personal. Asturias isn’t a mere scribe to that linguistic reality, but also its creator—someone who chooses to dive into the bottomless fountain of how a nation and its people speak, but also managing to polish and add something of his own fantasies, obsessions, and excellent ear to give it his own personal stamp. Mr. President is undoubtedly a work of art, a true tour de force of great originality and creativity, perhaps closer to poetry than to fiction or, perhaps, a rare merging of these two genres.
Many episodes in the novel begin in a realistic vein but, little by little, Asturias constructs a visionary and metaphorical poetic language, which leads him to discard a realistic, objective landscape for one of legend, dream, theater, myth, and pure invention. This is what makes this novel so unique, so new, and of such a high literary value that almost a century later, Mr. President continues to be one of the most original Latin American texts ever written.
Asturias’s nostalgia for his native land certainly played an important role in the writing of this novel. And yet, the distance between Asturias and Guatemala—he was living in Paris—gave him a kind of freedom that many writers living in their homelands did not have, since they were forced to experience a brutality that impeded their ability to write freely, without fear of persecution and censorship. Probably Miguel Ángel Asturias wasn’t fully aware of how great a novel he had written and whose magnitude he would never again repeat, because the novels, short stories, and poems he wrote afterward were closer to the narrower, somewhat demagogic literature of “committed” dictator novels that he had earlier championed. He hadn’t realized that the great merit of Mr. President was precisely that he had broken that tradition and raised the politically engaged novel to an altogether higher level.
|
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correct_award_00058
|
FactBench
|
1
| 31
|
https://www.alamy.com/stock-photo-1967-nobel-laureate-for-literature-guatemalan-poet-miguel-angel-asturias-87523727.html
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en
|
1967 Nobel laureate for literature, Guatemalan poet Miguel Angel Asturias receives congratulations. Oct. 1967 (CSU 2015 7 434 Stock Photo
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Download this stock image: 1967 Nobel laureate for literature, Guatemalan poet Miguel Angel Asturias receives congratulations. Oct. 1967 (CSU 2015 7 434) - F2B1BB from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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en
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https://www.alamy.com/stock-photo-1967-nobel-laureate-for-literature-guatemalan-poet-miguel-angel-asturias-87523727.html
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1967 Nobel laureate for literature, Guatemalan poet Miguel Angel Asturias receives congratulations. Oct. 1967 (CSU 2015 7 434)
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correct_award_00058
|
FactBench
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3
| 28
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http://jstheater.blogspot.com/2005/10/nobel-prize-in-literature-updated.html
|
en
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J'S THEATER: The Nobel Prize in Literature (Updated)
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This week marks the start of the Nobel Prize season. I used to be extremely fascinated by the Nobel Prizes when I was younger, and always w...
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http://jstheater.blogspot.com/favicon.ico
|
http://jstheater.blogspot.com/2005/10/nobel-prize-in-literature-updated.html
| |||||
correct_award_00058
|
FactBench
|
3
| 53
|
https://www.pw.live/exams/ssc/nobel-prize-in-literature/
|
en
|
Nobel Prize in Literature from 1901 to 2023, Achievement
|
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2023-12-28T23:00:22+05:30
|
The list for the Nobel Prize in Literature has been briefly discussed below. Sully Prudhomme from Frame was the first to get the Nobel Prize in Literature.
|
PHYSICS WALLAH
|
https://www.pw.live/exams/ssc/nobel-prize-in-literature/
|
The Nobel Prize in Literature is a prestigious international award presented annually to an author, poet, or playwright for their outstanding contributions to the world of literature. Instituted by the will of Alfred Nobel, a visionary inventor and industrialist, the prize aims to recognize and honor exceptional literary achievements that have significantly impacted human understanding and culture.
Each year, the Swedish Academy carefully evaluates literary works from all over the globe to identify the most distinguished contributors to the field of literature. Thus, candidates can go through the further details from the below article.
Nobel Prize in Literature from 1901 to 2023
Candidates can go through the list of Nobel Prizes in Literature from 1901 to 2023 from the below table:-
Nobel Prize in Literature from 1901 to 2023 Year Name Country Achievement 1901 Sully Prudhomme France Poet 1902 Theodor Mommsen Germany Historian 1903 Bjørnstjerne Martinius Bjørnson Norway Novelist, Poet, Dramatist 1904 José Echegaray y Eizaguirre Spain Dramatist Frédéric Mistral France Poet 1905 Henryk Sienkiewicz Poland Novelist 1906 Giosuè Carducci Italy Poet 1907 Rudyard Kipling U.K. Poet, Novelist 1908 Rudolf Christoph Eucken Germany Philosopher 1909 Selma Lagerlöf Sweden Novelist 1910 Paul Johann Ludwig von Heyse Germany Poet, Novelist, Dramatist 1911 Maurice Maeterlinck Belgium Dramatist 1912 Gerhart Hauptmann Germany Dramatist 1913 Rabindranath Tagore India Poet 1915 Romain Rolland France Novelist 1916 Verner von Heidenstam Sweden Poet 1917 Karl Gjellerup Denmark Novelist Henrik Pontoppidan Denmark Novelist 1918 Erik Axel Karlfeldt (declined) Sweden Poet (Declined) 1919 Carl Spitteler Switzerland Poet, Novelist 1920 Knut Hamsun Norway Novelist 1921 Anatole France France Novelist 1922 Jacinto Benavente y Martínez Spain Dramatist 1923 William Butler Yeats Ireland Poet 1924 Władysław Stanisław Reymont Poland Novelist 1925 George Bernard Shaw Ireland Dramatist 1926 Grazia Deledda Italy Novelist 1927 Henri Bergson France Philosopher 1928 Sigrid Undset Norway Novelist 1929 Thomas Mann Germany Novelist 1930 Sinclair Lewis U.S. Novelist 1931 Erik Axel Karlfeldt (posthumous award) Sweden Poet (Posthumous Award) 1932 John Galsworthy U.K. Novelist 1933 Ivan Alekseyevich Bunin U.S.S.R. Poet, Novelist 1934 Luigi Pirandello Italy Dramatist 1936 Eugene O’Neill U.S. Dramatist 1937 Roger Martin du Gard France Novelist 1938 Pearl Buck U.S. Novelist 1939 Frans Eemil Sillanpää Finland Novelist 1944 Johannes V. Jensen Denmark Novelist 1945 Gabriela Mistral Chile Poet 1946 Hermann Hesse Switzerland Novelist 1947 André Gide France Novelist, Essayist 1948 T.S. Eliot U.K. Poet, Critic 1949 William Faulkner U.S. Novelist 1950 Bertrand Russell U.K. Philosopher 1951 Pär Lagerkvist Sweden Novelist 1952 François Mauriac France Poet, Novelist, Dramatist 1953 Sir Winston Churchill U.K. Historian, Orator 1954 Ernest Hemingway U.S. Novelist 1955 Halldór Laxness Iceland Novelist 1956 Juan Ramón Jiménez Spain Poet 1957 Albert Camus France Novelist, Dramatist 1958 Boris Leonidovich Pasternak (declined) U.S.S.R. Novelist, Poet (Declined) 1959 Salvatore Quasimodo Italy Poet 1960 Saint-John Perse France Poet 1961 Ivo Andric Yugoslavia Novelist 1962 John Steinbeck U.S. Novelist 1963 George Seferis Greece Poet 1964 Jean-Paul Sartre (declined) France Philosopher, Dramatist (Declined) 1965 Mikhail Aleksandrovich Sholokhov U.S.S.R. Novelist 1966 S.Y. Agnon Israel Novelist Nelly Sachs Sweden Poet 1967 Miguel Ángel Asturias Guatemala Novelist 1968 Kawabata Yasunari Japan Novelist 1969 Samuel Beckett Ireland Novelist, Dramatist 1970 Aleksandr Isayevich Solzhenitsyn U.S.S.R. Novelist 1971 Pablo Neruda Chile Poet 1972 Heinrich Böll West Germany Novelist 1973 Patrick White Australia Novelist Eyvind Johnson Sweden Novelist Harry Martinson Sweden Novelist, Poet 1975 Eugenio Montale Italy Poet 1976 Saul Bellow U.S. Novelist 1977 Vicente Aleixandre Spain Poet 1978 Isaac Bashevis Singer U.S. Novelist 1979 Odysseus Elytis Greece Poet 1980 Czesław Miłosz U.S. Poet 1981 Elias Canetti Bulgaria Novelist, Essayist 1982 Gabriel García Márquez Colombia Novelist, Journalist, Social Critic 1983 Sir William Golding U.K. Novelist 1984 Jaroslav Seifert Czechoslovakia Poet 1985 Claude Simon France Novelist 1986 Wole Soyinka Nigeria Dramatist, Poet 1987 Joseph Brodsky U.S. Poet, Essayist 1988 Naguib Mahfouz Egypt Novelist 1989 Camilo José Cela Spain Novelist 1990 Octavio Paz Mexico Poet, Essayist 1991 Nadine Gordimer South Africa Novelist 1992 Derek Walcott Saint Lucia Poet 1993 Toni Morrison U.S. Novelist 1994 Oe Kenzaburo Japan Novelist 1995 Seamus Heaney Ireland Poet 1996 Wisława Szymborska Poland Poet 1997 Dario Fo Italy Dramatist, Actor 1998 José Saramago Portugal Novelist 1999 Günter Grass Germany Novelist 2000 Gao Xingjian France Novelist, Dramatist 2001 Sir V.S. Naipaul Trinidad Novelist 2002 Imre Kertész Hungary Novelist 2003 J.M. Coetzee South Africa Novelist 2004 Elfriede Jelinek Austria Novelist, Dramatist 2005 Harold Pinter U.K. Dramatist 2006 Orhan Pamuk Turkey Novelist 2007 Doris Lessing U.K. Novelist 2008 Jean-Marie Gustave Le Clézio France Novelist, Essayist 2009 Herta Müller Germany Novelist 2010 Mario Vargas Llosa Peru Novelist, Dramatist 2011 Tomas Tranströmer Sweden Poet 2012 Mo Yan China Novelist, Short-Story Writer 2013 Alice Munro Canada Short-Story Writer 2014 Patrick Modiano France Novelist 2015 Svetlana Alexievich Belarus Journalist, Prose Writer 2016 Bob Dylan U.S. Singer, Songwriter 2017 Kazuo Ishiguro U.K. Novelist 2018 Olga Tokarczuk Poland Novelist, Poet, Essayist 2019 Peter Handke Austria Novelist, Poet, Essayist, Playwright 2020 Louise Glück U.S. Poet 2021 Abdulrazak Gurnah Tanzania Novelist 2022 Annie Ernaux France Novelist, Memoirist 2023 Jon Fosse Norway Novelist, Playwright, Poet
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1967 Nobel Prize in Literature
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https://en.wikipedia.org/wiki/1967_Nobel_Prize_in_Literature
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Award
1967 Nobel Prize in LiteratureMiguel Ángel AsturiasDate
19 October 1967 (announcement)
10 December 1967
(ceremony)
LocationStockholm, SwedenPresented bySwedish AcademyFirst awarded1901WebsiteOfficial website
← 1966 · Nobel Prize in Literature · 1968 →
The 1967 Nobel Prize in Literature was awarded to the Guatemalan writer Miguel Ángel Asturias (1899–1974) "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America."[1] He is the first Guatemalan and the second Latin American author to receive the prize after the Chilean poet Gabriela Mistral won in 1945.[2]
Laureate[edit]
Main article: Miguel Ángel Asturias
Miguel Angel Asturias first book Leyendas de Guatemala ("Legends of Guatemala", 1930) is a compilation of stories originating from Mayan legends. His debut novel El Señor Presidente ("The President", 1946) was a brutal portrayal of a Latin American dictatorship in the early 20th century. He wrote a trilogy – The Banana Trilogy – about the rampage of the United Fruit Company in Guatemala in the 1950s, which included Viento Fuerte ("Strong Wind", 1950), El Papa Verde ("The Green Pope", 1954), and Los ojos de los enterrados ("The Eyes of the Interred", 1960). The works of Asturias are pervaded with social pathos and a potent language that fuses myth and reality, and are generally concerned with repression and injustice against the poor and the weak, both in Guatemala and the rest of Latin America.[3] His other well-known works include Hombres de maíz ("Men of Maize", 1949) and Mulata de tal ("The Mulatta and Mr. Fly", 1963).[4][3]
Deliberations[edit]
Nominations[edit]
Miguel Ángel Asturias was first nominated in 1964 by Erik Lindegren, a member of the Swedish Academy, and became an annual nominee until 1967 when he was eventually awarded with the prize. He received 3 nominations in 1967 with a single joint nomination with Argentinian writer Jorge Luis Borges.[5][6]
In total, the Nobel Committee received 112 nominations for 69 writers including Samuel Beckett, Thornton Wilder, Lawrence Durrell, E. M. Forster, Georges Simenon, Ezra Pound, Robert Graves, André Malraux and J. R. R. Tolkien. Eighteen of the nominees were nominated first-time such as Ivan Drach, Carlos Drummond de Andrade, Rabbe Enckell, Saul Bellow (awarded in 1976), Jorge Amado, György Lukács, Claude Simon (awarded in 1985), Pavlo Tychyna, and Hans Magnus Enzensberger. The highest number of nominations was for the Spanish writer José María Pemán with eight nominations from academics and literary critics. The oldest nominee was the Spanish philologist Ramón Menéndez Pidal (aged 98) and the youngest was Ukrainian poet Ivan Drach (aged 31). Five of the nominees were women namely Katherine Anne Porter, Marie Luise Kaschnitz, Lina Kostenko, Anna Seghers and Judith Wright.[7]
The authors Djamaluddin Adinegoro, Marcel Aymé, Samira Azzam, Margaret Ayer Barnes, Vladimir Bartol, Ion Buzdugan, Ilya Ehrenburg, Forough Farrokhzad, Sidney Bradshaw Fay, Hugo Gernsback, João Guimarães Rosa, Langston Hughes, Lajos Kassák, Patrick Kavanagh, Margaret Kennedy, José Martínez Ruiz, André Maurois, Carson McCullers, Christopher Okigbo, Dorothy Parker, Arthur Ransome, Elmer Rice, Georges Sadoul, Siegfried Sassoon, Alice B. Toklas, Jean Toomer, David Unaipon, Robert van Gulik, Adrienne von Speyr, and Vernon Watkins died in 1967 without having been nominated for the prize. The Ukrainian poet Pavlo Tychyna died months before the announcement.
Official list of nominees and their nominators for the prize No. Nominee Country Genre(s) Nominator(s) 1 Jorge Amado (1912–2001) Brazil novel, short story
Earl William Thomas (1915–1981)
Antônio Olinto (1919–2009)
Fred Ellison (1922–2014)
Sociedade Brasileira de Autores Teatrais
Brazilian Writers Association
2 Carlos Drummond de Andrade (1902–1987) Brazil poetry, essays Gunnar Ekelöf (1907–1968) 3 Louis Aragon (1897–1982) France novel, short story, poetry, essays Cyrille Arnavon (1915–1978) 4 Miguel Ángel Asturias (1899–1974) Guatemala novel, short story, poetry, essays, drama
André Saint-Lu (1916–2009)
Hans Hinterhäuser (1919–2005)
Henry Olsson (1896–1985)
5 Wystan Hugh Auden (1907–1973) United Kingdom
United States poetry, essays, screenplay Walther Braune (1900–1989) 6 Samuel Beckett (1906–1989) Ireland novel, drama, poetry
Siegbert Salomon Prawer (1925–2012)
Barbara Hardy (1924–2016)
Per-Olof Barck (1912–1978)
William Stuart Maguinness (1903–1983)
The Swedish PEN Club
Nelly Sachs (1891–1970)
7 Saul Bellow (1915–2005) Canada
United States novel, short story, memoir, essays PEN Centre Germany 8 Jorge Luis Borges (1899–1986) Argentina poetry, essays, translation, short story
Henry Olsson (1896–1985)
Raimundo Lida (1908–1979)
Gustaf Fredén (1898–1987)
9 Emil Boyson (1897–1979) Norway poetry, novel, translation Asbjørn Aarnes (1923–2013) 10 Arturo Capdevila (1889–1967) Argentina poetry, drama, novel, short story, essays, history
Rodolfo Maria Ragucci (1887–1973)
Pedro Miguel Obligado (1892–1967)
Edmundo Correas (1901–1991)
11 Josep Carner (1884–1970) Spain poetry, drama, translation
Jordi Rubió (1887–1982)
Marie-Jeanne Durry (1901–1980)
12 Alejo Carpentier (1904–1980) Cuba novel, short story, essays Lars Gyllensten (1921–2006) 13 René Char (1907–1988) France poetry Georges Blin (1917–2015) 14 Mohammad-Ali Jamalzadeh (1892–1997) Iran short story, translation Ehsan Yarshater (1920–2018) 15 Lawrence Durrell (1912–1990) United Kingdom novel, short story, poetry, drama, essays Harald Patzer (1910–2005) 16 Rabbe Enckell (1903–1974) Finland short story, poetry Kauko Aatos Ojala (1919–1987) 17 Hans Magnus Enzensberger (1929–2022) Germany poetry, essays, translation Wolfgang Baumgart (1949–2011) 18 Edward Morgan Forster (1879–1970) United Kingdom novel, short story, drama, essays, biography, literary criticism Albrecht Dihle (1923–2020) 19 Max Frisch (1911–1991) Switzerland novel, drama
John Stephenson Spink (1909–1985)
H. M. Heinrich (?)
20 Rómulo Gallegos (1884–1969) Venezuela novel, short story Lars Gyllensten (1921–2006) 21 Jean Genet (1910–1986) France novel, autobiography, drama, screenplay, poetry, essays Karl Ragnar Gierow (1904–1982) 22 Jean Giono (1895–1970) France novel, short story, essays, poetry, drama
Henri Peyre (1901–1988)
Louis Moulinier (1904–1971)
23 Witold Gombrowicz (1904–1969) Poland short story, novel, drama Henry Olsson (1896–1985) 24 Robert Graves (1895–1985) United Kingdom history, novel, poetry, literary criticism, essays John Wintour Baldwin Barns (1912–1974) 25 Graham Greene (1904–1991) United Kingdom novel, short story, autobiography, essays Karl Ragnar Gierow (1904–1982) 26 Lawrence Sargent Hall (1915–1993) United States novel, short story, essays Robert Brumbaugh (1918–1992) 27 Taha Hussein (1889–1973) Egypt novel, short story, poetry, translation Jussi Aro (1928–1983) 28 Eugène Ionesco (1909–1994) Romania
France drama, essays Karl Ragnar Gierow (1904–1982) 29 Ernst Jünger (1895–1998) Germany philosophy, novel, memoir Rudolf Till (1911–1979) 30 Friedrich Georg Jünger (1898–1977) Germany poetry, essays, novel, drama Fritz Schalk (1902–1980) 31 Marie Luise Kaschnitz (1901–1974) Germany novel, short story, essays, drama Hermann Tiemann (1899–1981) 32 Yasunari Kawabata (1899–1972) Japan novel, short story Howard Hibbett (1920–2019) 33 Basij Khalkhali (1918–1995) Iran poetry Sadeq Rezazadeh Shafaq (1892–1971) 34 Väinö Linna (1920–1992) Finland novel Lars Huldén (1926–2016) 35 György Lukács (1885–1971) Hungary philosophy, literary criticism Erik Lindegren (1910–1968) 36 Karl Löwith (1897–1973) Germany philosophy Franz Dirlmeier (1904–1977) 37 André Malraux (1901–1976) France novel, essays, literary criticism
Henri Peyre (1901–1988)
Henry Caraway Hatfield (1912–1995)
Claude Digeon (1920–2008)
John Martin Cocking (1914–1986)
François Chamoux (1915–2007)
38 Ramón Menéndez Pidal (1869–1968) Spain philology, history
Gunnar Tilander (1894–1973)
Marcel Bataillon (1895–1977)
39 Yukio Mishima (1925–1970) Japan novel, short story, drama, literary criticism Harry Martinson (1904–1978) 40 Eugenio Montale (1896–1981) Italy poetry, translation Uberto Limentani (1913–1989) 41 Henry de Montherlant (1895–1972) France essays, novel, drama Pierre Grimal (1912–1996) 42 Alberto Moravia (1907–1990) Italy novel, literary criticism, essays, drama Gustaf Fredén (1898–1987) 43 Pablo Neruda (1904–1973) Chile poetry André Saint-Lu (1916–2009) 44 Junzaburō Nishiwaki (1894–1982) Japan poetry, literary criticism Naoshirō Tsuji (1899–1979) 45 Germán Pardo García (1902–1991) Colombia
Mexico poetry James Willis Robb (1918–2010) 46 Konstantin Paustovsky (1892–1968) Russia novel, poetry, drama Eyvind Johnson (1900–1976) 47 José María Pemán (1897–1981) Spain poetry, drama, novel, essays, screenplay
Marcel Baiche (?)
Martí de Riquer i Morera (1914–2013)
Robert Ricard (1900–1984)
José Sánchez Lasso de la Vega (1928–1996)
Rafael Lapesa Melgar (1908–2001)
Pierre Jobit (1892–1972)
Manuel Halcón y Villalón-Daoíz (1900–1989)
Sociedad General de Autores y Editores
48 André Pézard (1893–1984) France translation, essays Wilhelm Theodor Elwert (1906–1997) 49 Katherine Anne Porter (1890–1980) United States short story, essays Cleanth Brooks (1906–1994) 50 Ezra Pound (1885–1972) United States poetry, essays
Hildebrecht Hommel (1899–1986)
Berta Moritz-Siebeck (1912–1989)
51 Zayn al-ʻĀbidīn Rahnamā (1894–1990) Iran history, essays, translation The Iranian PEN Club 52 Anna Seghers (1900–1983) Germany novel, short story Akademie der Künste der DDR 53 Georges Simenon (1903–1989) Belgium novel, short story, memoir Justin O'Brien (1906–1968) 54 Claude Simon (1913–2005) France novel, essays Erik Lindegren (1910–1968) 55 Charles Percy Snow (1905–1980) United Kingdom novel, essays Friedrich Schubel (1904–1991) 56 John Ronald Reuel Tolkien (1892–1973) United Kingdom novel, short story, poetry, philology, essays, literary criticism Gösta Holm (1916–2011) 57 Pavlo Tychyna (1891–1967) Ukraine poetry, translation Omeljan Pritsak (1919–2006) 58 Ivan Drach (1936–2018) Ukraine poetry, literary criticism, drama 59 Lina Kostenko (born 1930) Ukraine poetry, novel 60 Pietro Ubaldi (1886–1972) Italy philosophy, essays Academia Santista de Letras 61 Robert Penn Warren (1905–1989) United States novel, poetry, essays, literary criticism Franz Link (1924–2001) 62 Tarjei Vesaas (1897–1970) Norway poetry, novel
Carl-Eric Thors (1920–1986)
Sigmund Skard (1903–1995)
Johannes Andreasson Dale (1898–1975)
Norwegian Authors' Union
63 Simon Vestdijk (1898–1971) Netherlands novel, poetry, essays, translation
Gerhard Cordes (1908–1985)
Pierre Brachin (1914–2004)
The Dutch PEN-Club
Netherlands Writers Association
64 Thornton Wilder (1897–1975) United States drama, novel, short story
Hildebrecht Hommel (1899–1986)
Frederick Albert Pottle (1897–1987)
Stuart Pratt Atkins (1914–2000)
65 Edmund Wilson (1895–1972) United States essays, literary criticism, short story, drama
Wiktor Weintraub (1908–1988)
Morton Wilfred Bloomfield (1913–1987)
66 Judith Wright (1915–2000) Australia poetry, literary criticism, novel, essays
Mary Durack (1913–1994)
Colin James Horne (1939–1999)
Greta Hort (1903–1967)
Torsten Dahl (1897–1968)
67 Carl Zuckmayer (1896–1977) Germany drama, screenplay
Günther Jachmann (1887–1979)
Walter Hinck (1922–2015)
68 Arnold Zweig (1887–1968) Germany novel, short story Akademie der Künste der DDR 69 Arnulf Øverland (1889–1968) Norway poetry, essays Eyvind Johnson (1900–1976)
Prize decision[edit]
Asturias was shortlisted along with Jorge Luis Borges, Graham Greene, W.H. Auden and Yasunari Kawabata (awarded in 1968). Anders Österling, chairman of the Swedish Academy's Nobel committee, favored Graham Greene whom he descried as "an accomplished observer whose experience encompasses a global diversity of external environments, and above all the mysterious aspects of the inner world, human conscience, anxiety and nightmares",[8] Österling's second proposal was Kawabata, and Auden his third. An opposing group in the committee including Eyvind Johnson, Erik Lindegren and Henry Olsson did not agree with Österling and presented an alternative proposal with a shared prize to Asturias and Borges as their first proposal, Auden their second and Kawabata their third proposal. The fifth member of the committee, Karl Ragnar Gierow, gave the oppositions proposal his support by proposing Asturias/Borges, Auden and Kawabata in no particular order. Ultimately a shared prize was rejected and Asturias alone was awarded.[8][9] Despite Asturias winning the prize, Österling regarded him as a writer "too narrowly limited in his revolutionary subject world" and Borges as "too exclusive or artificial in his ingenious miniature art".[8][9]
References[edit]
[edit]
|
||||||
correct_award_00058
|
FactBench
|
0
| 47
|
https://www.librarything.com/author/asturiasmiguelangel
|
en
|
Miguel Ángel Asturias
|
https://www.librarything.com/favicon_lt_32.ico
|
https://www.librarything.com/favicon_lt_32.ico
|
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] |
[] |
[] |
[
"librarything",
"library",
"thing",
"catalog your books",
"catalogue your books",
"book cataloging",
"library",
"free book catalog",
"catalogue"
] | null |
[] | null |
Miguel Ángel Asturias, author of The President, on LibraryThing
|
en
|
/favicon_lt_32.ico
|
LibraryThing.com
|
https://www.librarything.com/author/asturiasmiguelangel
| |||
correct_award_00058
|
FactBench
|
3
| 12
|
https://www.diplomacoversource.com/the-covers-of-the-nobel-prize-certificates-are-full-of-illustrations.html
|
en
|
The Covers of the Nobel Prize Certificates are Full of Illustrations!
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Hangzhou Shengzhong Covers Co., Ltd"
] |
2020-09-24T00:00:00
|
Every year's Nobel Prize certificates will be designed by a special artist according to the characteristics and achievements of the winners. Not only that, the cover colors of award certificates i...
|
en
|
/favicon.ico
|
Hangzhou Shengzhong Covers Co., Ltd.
|
https://www.diplomacoversource.com/the-covers-of-the-nobel-prize-certificates-are-full-of-illustrations.html
|
Every year's Nobel Prize certificates will be designed by a special artist according to the characteristics and achievements of the winners. Not only that, the cover colors of award certificates in different fields are different, which are designed by different countries and institutions.
I. Nobel Prize in Literature
The Swedish Akademien is responsible for the design of the Nobel Prize in literature. The cover color of the award is not fixed, and it is finally put into a handmade box with the name of the winner printed on it.
i. Hemingway
In 1954, Hemingway won the Nobel Prize IN literature for the Old Man and the Sea, and the painting content in the certificate is the old man and the sea, the waves, the boats and the big fish, are lifelike, and the colors are very bright.
ii. Ángel Asturias
The Guatemalan author Miguel Angel Asturias won the 1967 Nobel Prize in Literature for his work Men of Maize. Angel's works are rooted in their own national characteristics and Indian tradition, and the award certificates designed for him all used Indian elements.
iii. Isaac Bashevis Singer
Singer is an American Jewish writer, known as the "Master of Short Stories" in the 20th century. As a Jew, all his works express his worries about the future of his nation, and his certificate design also reflects this feature. In the middle of the certificate is the Star of David of the Jews, below is New York, and beside them are the Magician of Lublin, Rabbi holds the Jewish Torah Roll, Jacob in The Slave, Satan in Goray, Messiah, and Nazis on the far right.
iv. Kertész Imre
Kertész Imre, a Hungarian Jewish author, who was awarded the Nobel Prize in Literature in 2012 for his autobiographical novel Fatelessness. He described his experience in the concentration camp in the novel. His certificate is also designed in a realistic style, which at first glance seems to be a photo.
v. Mo Yan
Mo Yan won the 2012 Nobel Prize in Literature for his novel Frog. He is known as a root-seeking literary writer, whose works are full of local flavor. His certificate design also follows this style, with rolling fields to highlight the local flavor.
II. Nobel Prize in Physics
The cover of the Physics Prize certificate is colored and designed by the Royal Swedish Academy of Sciences.
i. Marie Curie
In 1903, the Curies and Becquerel jointly won the Nobel Prize in Physics for their research on radioactivity. With scattered pattern on the upper left, a steaming bottle on the right, and flower edges surrounded, it's the typical early certificate style.
ii. Einstein
Einstein won the 1921 Nobel Prize in Physics for his Photon hypothesis, which successfully explains the photoelectric effect. It's also a relatively simple style in the early days, with his medal on it.
iii. Chen Ning Yang
In 1957, Chen Ning Yang and Tsung-Dao Lee won the Nobel Prize in Physics for jointly proposing parity nonconservation theory. This certificate design directly abstracts particles and uses mirror elements.
iv. Eric A. Cornell
Eric Cornell won the 2001 Physics Prize for his work on Bose-Einstein condensate. He studied the formation of Bose-Einstein condensation in a dilute gas of alkali metal atoms. Condensation is a superfluid gaseous state. This certificate is designed to flow underneath with a cloud of gas above, which is also very simple and clear, and the contrast color is really nice.
v. Peter Higgs
The Higgs mechanism proposed by Peter Higgs proved the mass of Higgs boson and predicts its existence. Although Higgs has not been discovered, it is still a great progress in particle physics, and Higgs himself won the 2013 Nobel Prize in Physics. The design of his certificate was really beautiful, with deep colors representing the infinite universe and two spheres representing particles.
vi. Isamu Akasaki
Akasaki won the Nobel Prize in Physics in 2014 for his invention of an energy-saving and bright light source: the color LED. The certificate is blue and gray on the whole, with street and window designs in the patterns, which symbolizes the impact on people's lives. Akasaki's name is displayed in color to highlight him.
III. Nobel Prize in Chemistry
The certificate of the Nobel Prize in Chemistry is also designed by the Royal Swedish Academy of Sciences, and the cover is red.
i. Marie Curie
This is Marie Curie's second Nobel Prize. In 1911, she won the Nobel Prize in Chemistry for her discoveries of the elements polonium and radium. The overall design of the certificate is symmetrical on both sides, which is very normal and belongs to the early exquisite design style. It's a little feminine, and you can find the design elements of books and Libra if you look carefully.
ii. Fritz Haber
Fritz Haber won the Nobel Prize in Chemistry in 1918 for making ammonia. The year 1919 written on the certificate is the time he received the award, and there is also the formula for the production of ammonia by the Haber-Bosch process. His research made mankind free from the dependence on passive ammonia fertilizer and promoted the development of world agriculture. At the top of the certificate is the design of gas elements, and the elements of plants and cities implied his contribution to human development.
But the Jewish chemist is also controversial because he was involved in the development of poison gas during the war, causing millions of casualties. And this was condemned by scientists in the United States, Britain, France and China at that time.
iii. Ryoji Noyori, Knowles and Sharpless
Ryoji Noyori, Knowles and Sharpless jointly won the 2001 Nobel Prize in Chemistry for their contributions in the field of asymmetric synthesis. The certificates of the three persons are also three kinds of patterns, but the style and design elements are the same, which is very consistent with their research. The pattern is symmetrical in design, but not in color or style.
iv. Martin Karplus
Martin Karplus is a Jewish chemist. In 2013, he won the Nobel Prize in Chemistry for creating multi-scale models of complex chemical systems.
IV. Nobel Prize in Physiology/Medicine
The Royal Caroline's Nobel Committee is responsible for the design of the certificate for the Medicine/Physiology Prize, and the cover is red.
i. Paul Ehrlich
In 1908, Paul Ehrlich won the Nobel Prize in Physiology/Medicine for his discovery of cellular phagocytosis and autoimmunity. The designer created a vibrant nature on his certificate.
ii. Francis Crick
Francis Crick and James Watson discovered the double helix structure of DNA in the Cavendish Laboratory of Cambridge University in 1953, and they also won the 1962 Nobel Prize in Physiology and Medicine with Morris Wilkins. This medal is now preserved at Bermuda Regenerative Medicine Center and in this certificate, the designer obviously adopts the spiral element.
iii. Alexander Fleming, Florey and Chain
Alexander Fleming first discovered penicillin in 1928, and later, the British pathologist Florey and the German biochemist Chain further improved their research and successfully used it to treat human diseases. Therefore, the three jointly won the Nobel Prize in Physics. In this certificate, the top right corner is a medical symbol of healing and saving lives, and on both sides of the middle tree are doctors and soldiers. This is because during World War II, penicillin cured many people of their infections.
iv. Tu Youyou
Tu Youyou won the Nobel Prize in Physiology/Medicine in 2015 for her discovery of artemisinin, thus becoming the first Chinese scientist to win the Nobel Prize in Physiology/Medicine.
Compared with other people's certificates, is Tu Youyou's too unconcerned? Actually not, this is because in 1965, the calligrapher Karl Eric Fosberg abandoned decorative paintings and left only a simple color medal pattern of beautiful fonts, which became a new Nobel Prize certificate style. Since then, this certificate has been used in physiology or medicine prize. That is to say, after 1965, the award certificates received by the winners are in such a simple style.
V. Nobel Prize in Economics
The Royal Swedish Academy of Sciences is responsible for lots of designs, it also designed the certificate of the Economics Prize since 1969, and the cover of this certificate is brown. The designer will be also very tired if the content of economics is expressed in the form of painting, so the design of economics prize winners is generally more abstract.
i. John Nash
John Nash was awarded the Nobel Prize in Economics in 1994 for his work on non-game theory, which contributed to game theory and economics. This certificate design looks like a still life painting.
ii. Amartya Sen
Amartya Sen, who won the prize in 1998, is known as the economist of the poor for her outstanding contributions to welfare economics. This painting design is the most abstract one I have seen so far.
iii. Paul Krugma
Paul Krugman was awarded the Nobel Prize in Economics in 2008 for his new theory of international trade. There are cubes, spheres and mirrors in the certificate design, all of which are simple geometric bodies.
VI. Nobel Peace Prize
Norway's Nobel Committee is responsible for the design of the Peace Prize certificate, and the cover color is purple.
i. Aung San Suu Kyi
Aung San Suu Kyi is a Burmese politician who advocates non-violent democracy and won the Nobel Peace Prize in 1991, but she was still under house arrest. The painting inside the certificate is colored as a whole, giving people a sense of tranquility, and the dark clouds in the sky seem to have been dispersed by the sun, implying that she brings the light of democracy to Burma.
ii. ICBL
The International Campaign to Ban Landmines (ICBL) was first established in October 1992 when it was initiated by six non-governmental organizations. In December 1997, 122 countries had signed the Anti-Personnel Landmine Prohibition Treaty, which was the first treaty in the world to widely prohibit the use of traditional weapons. ICBL won the Nobel Peace Prize in 1997, and the element of the pattern design was aurora.
iii. Obama
As the first black president in American history, Obama won the Nobel Peace Prize on October 9, 2009.
iv. Malala
Malala, who was born in 1997, won the Nobel Peace Prize with Kailash Satyarthi in 2014 for her struggle for children's right to attend school. She is the youngest Nobel Prize winner so far. The painting design of this certificate is also very abstract, but it can be seen that several children are learning at their desks.
v. National Dialogue Quartet in Tunisia
The National Dialogue Quartet in Tunisia was founded in October 2013 and is now recognized by Tunisia's political parties as a mechanism for resolving political crises. In 2015, it was awarded the Nobel Peace Prize for its role in promoting democracy in Tunisia. In the picture is a Tunisian child image, which fits the theme.
|
||||
correct_award_00058
|
FactBench
|
3
| 45
|
https://texlibris.lib.utexas.edu/category/collections/acquisitions/
|
en
|
Acquisitions/Foreign Travel
|
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[] |
[] |
[
""
] | null |
[
"Susanna Sharpe",
"Ian Goodale"
] |
2024-04-04T13:38:20-05:00
|
en
| null |
One of the best parts of serving as the Middle Eastern Studies Librarian for UT Libraries is making and maintaining relationships with scholars, publishers, and vendors. I take advantage of any opportunity to travel to continue fostering these relationships, and my trip to Egypt in late January was no different. I was lucky enough to be able to travel specifically for the Cairo International Book Fair. Over the course of two weeks, I bought amazing books and journals from vendors local to Egypt and coming from around the Middle East, met new suppliers of key research materials, and I was able to connect with dear colleagues new and old.
The Cairo Book Fair is massive. This is not hyperbole: the event is often said to be the largest book fair in the world after Frankfurt, and perhaps more family-friendly than any other. Vendors from all over the world come to offer their wares, and people from all walks of life attend. There are groups of Egyptian schoolchildren on field trips; international students studying at Egyptian universities; scholars of the Middle East from around the world; whole families; teens out for a fun afternoon; and of course, librarians from all over the world who come to find the best, most interesting, rare, or latest publications. I spent my first few days at the Cairo Book Fair at the Children’s Hall and making a preliminary review of the international Islamic vendors in halls 3 and 4. It was in the Children’s Hall that I found the publisher al-Mu’assasah al-‘Arabiyyah al-Hadithah li’l-Tab’ wa’l-Nashr, and they were promoting riwayat al-jib, or pocket novels. In particular, they had produced a boxed set of the full supernatural collection of author Ahmad Khalid Tawfiq. UT Austin already owns a few of his works, including, among others, Mithl Ikarus (Just Like Icarus). The set that I bought includes 81 science fiction, fantasy, and paranormal titles in a small, portable format, with––frankly––delicious cover art. This set, titled Ma Wara’ al-Tab’iah, was the basis of the Netflix series Paranormal.
In Halls 3 and 4, I found the majority of the international and Egyptian Islamic vendors. Of particular interest were the booths and pavilions for the Dar al-Ifta’ organization and Al-Azhar University. The latter had an entire pavilion with exhibits on the manuscripts held at the Al-Azhar Library and the expertise of the preservationists who care for those rare and special materials, as well as art displays and activities for children and adults. I took a peek in their storage room to find what I had originally expected and hoped to find: the classic paperback Azhari texts and textbooks. Researchers focusing on the history of Al-Azhar as an educational institution, or on the history of Islamic education at all levels (for al-Azhar is not just a university, but also operates a K-12 school system), would find these materials central to their work. They are inherently ephemeral, due to their purpose of use and construction, so it was a rare opportunity to find them for UT Libraries’ collection.
Over the following few days, I made my way with more intention through halls 3 and 4 and also explored halls 1 and 2. I had the pleasure of visiting with fellow librarian, Dr. Walid Ghali, who is a professor and director of the library at the Aga Khan University (London). Dr. Ghali recently released three novels of his own, and we had a delightful conversation about librarianship and authorship while at the booth for his novels’ publisher, Dar al-Nasim. I also had the opportunity to speak with Ashraf ‘Uways, the founder of Dar al-Nasim. It was wonderful to learn more about his approach to selecting titles for publication, and especially his interest in supporting the publication of Arabic novels by authors in non-Arabic speaking countries in Africa. With such wonderful publishers at my disposal, I was acquiring quite a bit of incredible material. Each day, I arrived at the fair with a suitcase to fill, and I wasn’t the only one. From students to families to scholars, nearly everyone had a bag or cart of some kind to help them transport home their precious finds.
Traveling to Egypt was also an opportunity to meet with UT Austin’s regular book vendors. I had the pleasure to see George Fawzy, the director of our beloved vendor Leila Books. We were able to check-in in person about the research priorities at UT Austin and how those shape the materials that we acquire through Leila Books, and we were able to catch up on the state of libraries in North America and publishing in the Middle East. Visiting the Leila Books office is a delight for me because I get to see their incredible work in action, meeting the folks behind acquiring and shipping our materials. I always have to get a photo with the latest UT Austin shipment, and sure enough we had several boxes that were about to be sent out.
Additionally, I was able to meet with a new vendor who specializes in rare materials and visit his warehouse on the outskirts of Cairo. It is from this vendor that I have been able to acquire unique periodicals, including al-Majmu’ah al-Da’imah and al-Majallah al-Misriyyah li’l-‘Ulum al-Siyasiyyah (the Egyptian Journal of Social Science), which I brought back from this trip. Al-Majmu’ah al-Da’imah is a huge, multi-volume work that compiles the official record of judicial decisions issued in Egypt since the beginning of the national court system in 1883, and I would not have been able to locate it without this vendor’s help and some luck. I also found out-of-print significant, even rare, materials from the book market of Azbakiyyah in central Cairo. With the Cairo Book Fair on, the entirety of Azbakiyyah market moves to the Fair, where they have their own dedicated section. The Azbakiyyah booths are the most popular and most lively of the Fair, with materials moving in and out constantly. If you ever want to find a particular scholarly edition, or affordable novels, Azbakiyyah, or perhaps its section at the fair!, is the place to go.
My trip to Egypt was not only about acquiring pivotal materials for the UT libraries—I also took the time to visit key Egyptian cultural heritage institutions and to meet with scholars. I had the honor of finally meeting Dr. Nesrine Badawi (the American University in Cairo) in person. We had an engaging conversation about current trends in Egyptian scholarship and discussed her most recent research on Islamic law and the regulation of armed conflict. Additionally, I was able to visit Alexandria, the second largest city in Egypt, and spend a day at the Bibliotheca Alexandrina. Although I have visited this beautiful library and its extraordinary collections before, it is always worth a trip for the new exhibits and rotation of special collections on display. On this visit, I was able to tour the reconstructed private library of renowned journalist and director of al-Ahram newspaper, Mohamed Hassanein Heikal. The extensive exhibit was a stunning look inside Heikal’s education, career, and personal and professional relationships. For my own intellectual amusement, I spent a great deal of time in the rare books room, reviewing the latest rotation of centuries-old manuscripts. Bibliotheca Alexandrina now boasts a significant collection of ancient Egyptian art and contemporary Egyptian art, ranging from paintings to sculpture to ceramics.
It was a delight and an honor to be able to return to Egypt and to visit the Cairo Book Fair this year. I am sincerely grateful to the Center for Middle Eastern Studies, the UT Libraries, and our generous HornRaiser donors for making this trip possible. I look forward to my next trip and the caretakers and creators with whom I will forge relationships.
With the support of UT Libraries, and the generosity of donors in a recent Hornraiser campaign, I went to Israel on an acquisition trip on behalf of the UT Libraries in June. I have written in the past about the advantages of field work by a subject liaison in an academic library when it comes to curating and developing our collections. Being on the ground, one has an opportunity to acquire unique items that cannot be purchased remotely online. While networking with vendors and individuals in book fairs and book stores, there is a much bigger chance to come across alternative and non-mainstream materials. Moreover, making acquaintances face-to-face is a great way to spread the word about UT and UT Libraries and to make additional contacts.
My experience during this last trip made me realize yet again why acquisition trips are so beneficial to my work. One of the most significant advantages is the unparalleled opportunity to witness historical events in real-time. This allows for collecting ‘limited editions’ of grey literature that is created for or emerges as a result of current events. Throughout 2023 there has been a lot of civil unrest in the streets throughout Israel in reaction to the newly elected administration’s actions. There have been weekly rallies and marches against, and sometimes in favor of, the government and its officials. During my stay in Tel Aviv, I attended a few of those rallies, not only as a spectator, but also as an avid collector of anything that might be a valuable addition to the library’s Israeli collection. I was able to gather all sorts of ephemeral items distributed only during the protests: fanzines, comic strips, stickers, banners, pamphlets, and even t-shirts. I was reminded of the social justice protests of summer 2011, during which I also managed to put my hand on some materials available only then and there. By acquiring these unique items, adding them to and preserving them in our collections, we are able to capture the local zeitgeist while it is being shaped in real time, and thus, make it accessible for future generations of researchers.
Beyond ephemera, I had additional serendipitous, one-of-a-kind opportunities for collection development during my trip. While browsing the tables at one of the rallies, I met activists from the Communist Party of Israel (CPI) which led to a visit to their office a few days later, where I managed to acquire some of their publications which are not distributed to the mainstream market. These publications would complement other emerging pockets of distinctive collections at UT Libraries about communism and socialism such as the Socialist Pamphlets collection, Ernesto Cardenal Papers, Sajjad Zaheer Digital Archive, and fanzines recently acquired by UTL European Studies subject liaison Ian Goodale at the Montreal Anarchist Bookfair.
One night I went to watch a movie at the Herzliya Cinematheque, a 30 minutes ride from Tel Aviv. As it turned out, that venue had a small section where they were offering free of charge publications and DVDs. By mere chance, I was lucky to put my hand on a rare publication about adaptations of Israeli literature to cinema — a perfect and rare addition to our Israeli cinema & film collection. Likewise, while browsing an antique and book market one morning in Tel Aviv, I came across internationally unique programs from Israeli film festivals. Chatting with the vendor, he made the effort to introduce me to other vendors around him, all of whom sell publications related to Israeli cinema. These personal, on-the-ground and face-to-face encounters are instrumental to expanding the network of our vendors, leading to future, distinctive acquisitions.
By DANIEL ARBINO
Vea abajo para versión en español
The Nettie Lee Benson Latin American Collection is thrilled to announce the acquisition of the Miguel Ángel Asturias Papers. Asturias, the 1967 Nobel Laureate in Literature from Guatemala, was a precursor to the Latin American Boom. A prolific writer of poetry, short stories, children’s literature, plays, and essays, he is perhaps best known as a novelist, with El Señor Presidente (1946) and Hombres de maíz (1949) garnering the most acclaim. Asturias’s portrayal of Guatemala and the different peoples that live there—their beliefs, their interactions, their frustrations, and their hopes—mark the profundity of his texts.
The Benson is the third repository to house materials pertaining to Asturias’s life work, the other two being the Bibliothèque nationale in Paris and El Archivo General de Centroamérica in Guatemala City. What differentiates this particular collection is the role that Asturias’s son, Miguel Ángel Asturias Amado, played in compiling it over the course of fifty years. Indeed, in many ways the collection is just as much the son’s as it is the father’s. It features years of correspondence between the two, who were separated after the elder was forced to leave Argentina in 1962. This was not the writer’s first time in exile: his stay in Argentina was due to the Guatemalan government, led by Carlos Castillo Armas, stripping his citizenship in 1954. The letters provide insight into Asturias as a father, writer, and eventual diplomat when democratically elected Guatemalan President Julio César Méndez Montenegro restored his citizenship and made him Ambassador to France in 1966. Moreover, scholars will find within these letters a number of short stories for children that would eventually be collected in the book El alhajadito (1962).
In addition to correspondence with his son, Asturias maintained a longstanding relationship with his mother via letter during his first stay in Paris in the 1920s. Detailed within are the family’s economic hardships as a result of the country-wide crisis in Guatemala caused by the plummeting international coffee market, and information pertaining to the publication of his first collection of short stories, Leyendas de Guatemala (1930). Other communication from this era demonstrates the role that Asturias played in facilitating the publication of other Guatemalan authors and as a journalist for El imparcial.
Beyond letters, scholars will find a multifaceted collection. Manuscripts of poetic prose, such as “Tras un ideal” (1917), and an early theater piece titled “Madre” (1918) are included with loose-leaf fragments from El señor presidente. News clippings are also prominent. Those written by Asturias reflect his time at El imparcial while those written about him focus on his Nobel Prize. Perhaps an unexpected highlight is the audiovisual component of the collection. The author contributed an array of caricatures, doodles, and portraits, as well as a robust collection of photographs. Furthermore, there are several audio recordings of Asturias reading his work.
Finally, scholars will also be able to access studies dedicated to the work of Asturias and first, rare, and special editions of his books. These editions, meticulously collected and cared for by his son, reflect the author’s continued popularity.
The addition of the Miguel Ángel Asturias Papers will bolster a growing collection of prominent Central American subject matter at the Benson that includes the Ernesto Cardenal Papers, the Pablo Antonio Cuadra Papers, the Victoria Urbano Papers, the Arturo Taracena Flores Collection, and the Digital Archive of the Guatemalan National Police Historical Archive. Once Benson staff can safely return to our offices, we will announce plans to process the collection . In the meantime, questions can be directed to Daniel Arbino, Benson Head of Collection Development, at d.arbino@austin.utexas.edu.
La Colección Benson adquiere el archivo del Premio Nobel Miguel Ángel Asturias
Por DANIEL ARBINO
La Colección Latinoamericana Nettie Lee Benson se complace en anunciar la adquisición de los documentos de Miguel Ángel Asturias, Premio Nobel de 1967. El autor guatemalteco fue un precursor del boom latinoamericano. Escritor prolífico de poesía, cuentos, literatura infantil, obras de teatro y ensayos, es quizás mejor conocido como novelista, y El señor presidente (1946) y Hombres de maíz (1949) son las más aclamadas. La representación de Guatemala y sus variados pueblos, creencias, interacciones, frustraciones y esperanzas, marcan la profundidad de sus textos.
La Benson es el tercer archivo que reune materiales de la vida de Asturias, después de la Bibliothèque nationale en París y El Archivo General de Centroamérica en la ciudad de Guatemala. Lo que distingue a esta colección en particular es el papel que desempeñó el hijo de Asturias, Miguel Ángel Asturias Amado, en su recopilación a lo largo de cincuenta años. De hecho, la colección es, en muchos sentidos, tanto del hijo como del padre. Presenta años de correspondencia entre los dos, que se separaron después de que el padre tuvo que abandonar la Argentina en 1962. Ésta no fue la primera vez que el escritor se había tenido que ir al exilio: su estadía en la Argentina se debió a que el gobierno guatemalteco, liderado por Carlos Castillo Armas, le había despojado de su ciudadanía en 1954. Las cartas dan una idea de Asturias como padre, escritor y eventual diplomático, después de que Julio César Méndez Montenegro, el presidente de Guatemala democráticamente elegido, restauró su ciudadanía y lo nombró embajador en Francia en 1966. Además, los investigadores encontrarán dentro de estas cartas una serie de cuentos para niños que se recopilarían en el libro El alhajadito (1962).
Aparte de la correspondencia con su hijo, Asturias mantuvo una larga relación epistolar con su madre durante su primera estancia en París en la década de los 1920. Ahí se detallan las dificultades económicas de la familia como resultado de la crisis que atraviesa la sociedad guatemalteca, por la caída del precio del café a nivel internacional, e información relativa a la publicación de su primera colección de cuentos, Leyendas de Guatemala (1930). Otra comunicación de esta época demuestra el papel que desempeñó Asturias al facilitar la publicación de otros autores guatemaltecos y como periodista de El imparcial.
Asimismo, los investigadores verán una colección multifacética. Los manuscritos de prosa poética, como “Tras un ideal” (1917) y una obra de teatro titulada “Madre” (1918) se incluyen, tanto como fragmentos de hojas sueltas de El señor presidente. Los recortes de periódicos también son prominentes. Los escritos por Asturias reflejan su tiempo en El imparcial, mientras que los escritos sobre él se centran en su Premio Nobel. Quizás un punto destacado inesperado es el componente audiovisual de la colección. El autor contribuyó con una serie de caricaturas, garabatos y retratos, así como una colección robusta de fotografías. También, hay varias grabaciones de audio de Asturias en las cuales realiza lecturas de sus obras.
Por último, los académicos también podrán acceder a los estudios dedicados al trabajo de Asturias y a las primeras, raras y especiales ediciones de su trabajo. Estas ediciones, meticulosamente recopiladas y cuidadas por su hijo, reflejan la continua popularidad del autor.
La adquisición de los documentos de Miguel Ángel Asturias reforzará una creciente colección de materiales destacados de Centroamérica en LLILAS Benson, que incluye el archivo de Ernesto Cardenal, el archivo de Pablo Antonio Cuadra, el archivo de Victoria Urbano, la colección de Arturo Taracena Flores y la colección digital del Archivo Histórico de la Policía Nacional (AHPN) de Guatemala. Una vez que el personal de Benson pueda regresar de manera segura a nuestras oficinas, pronto seguirán los planes para procesar la colección. Mientras tanto, las preguntas pueden dirigirse a Daniel Arbino, Jefe de Desarrollo de Colecciones de la Benson.
Thanks to generous funding from donors to a 2019 Hornraiser crowdfunding effort and support from UT Libraries, I was able to visit Korea and Taiwan in October. In this blog post, I highlight the Korea portion of my trip—if you’d like to learn more about Taiwan, just ask! I’m happy to share my experience with all interested! While in Korea, I was able to do much of my usual liaison librarian work but with considerably increased efficiency and depth because I was “in context.” For example, I was able to (re)connect with vendors, to attend scholarly and cultural events, and to participate in conferences, all related to and in support of the Korean Studies programs here at UT.
The primary focus of my trip was to attend the “2019 Overseas Korean Studies Librarian Workshop” sponsored by and held at the National Library of Korea (NLK) in Seoul on from October 14-17.I arrived in Korea a week before the workshop so that my colleague Julie Wang of SUNY Binghamton Libraries and I could attend the 24th Busan International Film Festival, one of the most significant film festivals in Asia, to visit vendors, and to meet with the Korea Foundation. At the film festival, we were lucky to have the opportunity to listen to a group of rising documentary Asian directors about their films—films in all languages not just Korean.
We also visited our database vendors KSI and Nurimedia to learn of their current programs and future plans. We were delighted to learn that KSI is working on an English interface for its database KISS and that they expected to launch it in the summer 2020. (Nurimedia’s database DBpia & KRpia already have English interfaces.) Along the way, we were joined by Wen-ling Liu of Indiana University and the three of us U.S.-based librarians to visit the Korea Foundation (KF). The Korea Foundation has been partially supporting our subscription of KSI and Nurimedia’s e-resources and providing the Library with print materials, both through annual grant applications. The Foundation headquarters is in Jeju Island (a 70-minute-flight away from Seoul) and so we were particularly grateful that three of the Foundation staff flew in to Seoul to meet with us, explain their programs, and listen to our concerns.
The following week, we were all participants in the “Overseas Korean Studies Librarian Workshop,” a workshop generously funded by the National Library of Korea. This workshop is designed for overseas librarians who are non-Korean-native and whose job responsibilities include Korean subject areas. Participants came from ten countries (in three continents!), including 17 librarians from academic, national, public and theological seminary libraries and one art historian from a university. None of the participants is solely a Korean studies librarian; in fact, a lot of us are East Asian or Asian studies librarians whose responsibilities also cover Korean studies. Only a few participants have “adequate” Korean language skills, most of us have very limited or not any Korean language skills.
At the workshop, the National Library of Korea (NLK) introduced us to its digitization projects and services. Since 1982, it has been working with oversea libraries (China and Japan as well as western countries), local organizations, and private collections to digitize Korean rare books and to provide metadata and services through KORCIS: Korean Old and Rare Collection Information System. Currently, there are over 50,000 titles in KORCIS.
NLK also offers various international exchange & cooperation programs, the most notable is its “Window on Korea” (WOK). As of October 2019, NLK has signed MOUs with 25 overseas libraries for this program. To each WOK library, NLK provides funding for equipment (computers, chairs and desks, signboard etc.) in addition to 1500-4000 volumes of Korean books over a five year period. The mission of the WOK project is to introduce foreign researchers and ordinary library users to the history, tradition, culture, language and literature of Korea as well as Korea’s new achievements in the field of information technology. I’m hopeful that UT Libraries might pursue an MOU with the Window on Korea program one day!
All workshop participants—including me!– gave presentations about Korean studies and Korean library resources at their home institutes or countries. This was one of the most interesting and valuable parts of the workshop for me. I regularly meet with our US colleagues at conferences but I rarely have opportunity to learn of Korean studies and Korean library resources in other part of the world. For example, I heard about Korean Studies programs in Uzbekistan, France, Russia, Germany and beyond!
The memorable farewell dinner party was held at a traditional Korean building where we all changed to hanbok (traditional Korean dress). As you can see, people were having fun and wanted to take lots of photos in hanbok!
The cultural tours took us to National Hangeul (or Hangul) Museum and National Museum of Korea. At the Hangeul Museum, we used hammers to punch letters into leather to inscribe our hangul names. We also made a book from block printing and in traditional Korean binding. This kind of hands-on project reminded me of our own maker-spaces here at UT such as the Foundry.
All eighteen participants stayed in the same hotel and had every meal together. The workshop provided a rare opportunity for participants to really get to know our fellow Korean librarians from across the world. We have learned from one another not only from the formal presentations, but also from chatting and discussions at each meal and on bus trips. At the end of the workshop, we all had become old friends. We have created a mailing list and have since begun to communicate with one another. Because of this unique experience, I now know whom to turn to especially when there are difficult questions involving Korea/Korean and the countries where my fellow participants come from.
My trip was made possible by funding from Hornraiser donors. Thanks to their generosity, I was able to fly to and from Seoul (and Taiwan for another workshop) and to extend my trip in Korea to attend the Busan Film Festival and to visit our vendors and sponsor.
Traveling internationally to secure unique and distinctive acquisitions for UT Libraries and to make essential academic connections for UT Austin is one of the true joys of serving as Middle Eastern Studies Librarian. In June of this year, I traveled to Istanbul, Turkey, for two weeks. I focused on collecting Arabic titles published in Turkey and investigating study abroad opportunities for graduate students in the Middle East and Islamic Studies programs at UT.
I had the pleasure of flying into the brand new Istanbul airport, located on the opposite side of the city from the stalwart Atatürk Airport that I knew so well. I arrived at the end of Ramadan, which meant that I got to enjoy Bayram (the Turkish name for the festival celebrating the end of Ramadan) sales. I stayed in the neighborhood of Kuzgüncuk, a small, religiously diverse section of the city on the Asian side of the Bosphorus, just before the first bridge. There were several local book and magazine sellers, as well as produce vendors. It was from one of the local produce vendors that I learned of a children’s bookfair happening on the Asian side of the city, and I made a plan to visit it in the coming days.
While in Istanbul, I was able to receive a title for which I had been hunting in Egypt, Majallat al-Qaḍāʾ al-Sharʿī. There are only a handful of copies of this title around the world; yet, it is a crucial source for the social and legal history of early 20th century Egypt. So what makes a “rare” book in Islamic Studies, like this one?
Researchers at U.S. universities may often conceptualize a rare book as something necessarily old, a “first edition,” a banned title, etc. These are all potential markers of a rare book or special material, but they are not the only factors that librarians consider when making acquisitions for their collections. Consider government/official publications. They are often ephemeral in that they arere published for one run; they are often difficult to find because they are seen as an archival burden for someone else (presumably the government or organization); and, on top of all that, they may on the surface appear dull, dry, or irrelevant to deep (particularly historiographical) analysis. Even if one decides to go after government publications, it can be nearly impossible to track them down for these reasons. When I do manage to track them down, I’m often asked, why this?
Thanks to this acquisitions trip, I managed to obtain a copy of Majallat al-Qaḍāʾ al-Sharʿī, a briefly-issued publication of a judicial training school in Alexandria. It includes articles by figures who would end up shaping the Egyptian judiciary for decades to come, and provides insights into the political history of early 20th century Egypt. Cautiously, I may say that the UT Libraries will be the sole North American institution with the full set of volumes for this title (they are in processing now).
During my time in Istanbul, I also had opportunities to explore new and old publications and to learn more about the current frontiers of Islamic and Middle Eastern Studies scholarship. I visited the Hilye-i Şerif ve Tesbih Müzesi (museum of manuscripts honoring the Prophet Muhammad, and prayer beads) to see excellent exhibits of stunning manuscript illumination and religious arts. I also stopped in to the official government Turkish manuscripts publications office to check on the latest Arabic and Ottoman editing developments. Additionally, I had the pleasure of meeting up with a PhD candidate from Princeton University, to hear about her research and projects and to get the impressions of a junior scholar on the state of research in Turkey and other parts of the Middle East.
As my trip continued, I reflected on how book buying can be simply wandering around––somewhat aimlessly––and relying on serendipity (although I admit to wandering neighborhoods known for bookshops; I cannot leave everything up for chance). I found myself in awe of the materials selection available in the average bookshop. Stopping in at one in Üsküdar (Asian side of Istanbul), I found books in Turkish, Arabic, French, English, and German; translations of seminal works such as the biography of Muhammad Ali; Turkish conference proceedings that fill gaps in our collection; a large and diverse children’s section; premier Turkish Studies scholarship; and popular hero fiction.
There was a sign in the bookshop that read “3 books, 10 Turkish lira.” The shelves below it were a gold mine of popular fiction that will augment UT Austin’s Turkish literature collection and expand the options for our students to read during their intensive study of the Turkish language. I was able to procure them at a fraction of the price we would normally pay through other venues.
Additionally, I had the pleasure of meeting up with Murteza Bedir, Dean of the Faculty of Divinity and Professor at Istanbul University. We spoke about our research projects, upcoming conferences, recent publications in Islamic Studies, and Turkish Islamic Studies graduate programs.
Professor Bedir also took me to the symposium on the history of science in honor of the late Fuat Sezgin at Istanbul University. Scholars from around the world—Turkey, U.S., Uzbekistan, and others—presented their latest research and reflected on Sezgin’s contributions to the field. It was quite a time to be in Istanbul.
I continued my work making critical connections as the PCL and the UT Libraries Middle Eastern Studies librarian for both collections and scholarship opportunities by meeting with Recep Şentürk, professor of sociology and president of Ibn Haldun University in Istanbul, and some of his advanced graduate students. We met at the university’s Süleymaniye campus, housed in an Ottoman-era madrasa next to the Süleymaniye Mosque, following their class on Abu Hamid al-Ghazali’s Ihya’ ‘Ulum al-Din. Professor Şentürk knows of my interest in Arabic critical editions produced in Turkey, and graciously brought the first publication of the Ibn Haldun University Press—Mulla Gurani’s commentary on the Qur’an—to share with the UT Libraries. UT is the first university library in the world to acquire this edition, and I look forward to following the publications of this new press.
I am grateful for, and awestruck by, the generosity and hospitality with which I was met in Turkey, and which made my trip possible. I extend my sincere gratitude to the UT Libraries and the Center for Middle Eastern Studies for supporting my travel and acquisitions in Istanbul this year.
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Miguel Angel Asturias – Documentary
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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Documentary
Credit: ITN Archive/Reuters
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This week, our editors take us through Central America, France, and China to explore the reaches of literature, from a transcendent event honouring the poems of Robert Bolaño, to the new World Book Capital in France, and works featuring vital new voices from the Chinese language. Read on to find out more!
Rubén López, Editor-at-Large, reporting from Central America
When I entered the room, it looked like a coven: a group of people gathered around an edition of Roberto Bolaño’s Complete Poetry. Each member of the group would take turns to step into the centre, leaf through the text for a moment, and then recite one of the Chilean author’s poems at random, like a poetic Russian roulette. As I took my seat, one of the young men was reading the final verses of “The Romantic Dogs”. I had arrived at the event without much certainty about what it would be like; the poster from Perjura Proyecto, a cultural and artistic dissemination space, only said “The Poetry Came” and had a sketch of Bolaño’s silhouette. And, of course, it also mentioned the date and time—May 23, 17:00.
When it was my turn, I decided I wanted to read “Godzilla in Mexico”, my favorite poem by Bolaño. I clumsily flipped through the text while trying to make conversation with the rest of the participants, but I couldn’t find it. I apologised to the group because I would break the Russian roulette and put the bullet in the centre; I searched for it on my phone. As I recited “Yo leía en la habitación de al lado cuando supe que íbamos a morir”, I was overcome with a deep tenderness. I saw us, in the midst of a vertiginous and infamous city—a group of no more than ten people gathered to read Bolaño’s poems to each other. I thought about the infinite forms of cultural resistance in which we exist, all self-managed, all on the margins, all filled with beauty. READ MORE…
Guatemalan scholar Rita M. Palacios’ body of work reexamines the hegemonies that mediate literary, cultural, and knowledge production, particularly in Maya oral storytelling, literature, and material culture. In the book she co-authored with Asymptote’s former editor-at-large for Mexico, Paul M. Worley, Unwriting Maya Literature: Ts’íib as Recorded Knowledge (University of Arizona Press, 2019), they argued for a decentering from the Euro-American critical vocabulary of literary theory and arts criticism through the lens of ts’íib—”an understanding of Maya artistic and cultural production that includes and exceeds the written word.” Drawing from Maya artists and authors such as Calixta Gabriel Xiquín, Waldemar Noh Tzec, and Humberto Ak’abal, whose œuvre range from murals to textiles, from cha’anil (‘performatic’) to ceramics, from monuments to poetry, Palacios and Worley make the case for the ts’íib as one of the various Indigenous-centric departures from and unlearnings of our colonial worldviews on literary production and knowledge systems.
In this interview, I conversed with Dr. Palacios on ts’íib as a form of autohistorical knowledge production that is beyond the Western imaginary, the Maya and non-Ladino writers and writings within Guatemalan and Central American literatures, and the rightful refusals against translation.
Alton Melvar M Dapanas (AMMD): In a conversation on Mexican and Guatemalan literatures with Paul M. Worley, you said
[T]he many challenges (structural racism, censorship, a lack of government funding, to name a few) that writers in countries in the Majority World face directly impact how and what is written, how it’s published, and who it reaches, and so we, readers and critics, would do well to pay attention.
Can you speak more about these gaps and dissimilarities in terms of knowledge production, especially in literature, in the Global Majority versus the North Atlantic?
Rita M. Palacios (RMP): Given the way Western political and economic powers have shaped our world, the anglophone North Atlantic enjoys a certain monopoly over the manner in which we think and write about each other, privileging certain modes of artistic production over others, as well as creators, reading publics, and even the critics. This is not to say that we are helpless or that we are wholly bound by a system that privileges and rewards those who uphold it. It does mean that things are much more challenging for those who live, think, and create outside those parameters.
Generally, when it comes to literature, that which is written, packaged, and sold by the millions is not a literature that aims to represent us all, but a literature that affirms the places (real and imagined) we already occupy and the systems built around them so that we continue to inhabit these spaces, sustaining those big great powers. Despite the challenges their authors face, the literatures of the Global Majority are rich, diverse, and challenging; they are multilingual, multivocal, and multiversal. Rarely are these literatures sold in the same manner as blockbuster novels because of the threat they pose. And these authors recognize the danger of being subsumed into “national” or canonical literatures, as is the case with Mikel Ruíz (Tsotsil) who notes the tokenization of Indigenous literatures in Mexico (2019). READ MORE…
Join us this week with a new batch of literary dispatches covering a new Palestinian literary and culture magazine, the 2023 PEN Open Book Award longlist, and more. From a Palestinian literary festival to the birthday celebration for the “national poet” of Romania, read on to learn more!
Carol Khoury, Editor-at-Large, reporting from Palestine
A first is always exciting, always an event; in fact, it’s called “a first” even if a second never comes. And when there is a second time, it’s an opportunity to celebrate and to remember the first.
This week the Palestinian literary community is anticipating both a first and a second.
The Palestinian literary scene is witnessing the birth of Fikra Magazine, an online Palestinian cultural and literary magazine – writing and art by and for Palestinians. According to partners and co-founders Aisha and Kevin, Fikra is dedicated to “high-quality content that doesn’t conform to stereotypes and old-fashioned ideas about Palestine. It’s original, it’s inspiring, it’s bold.” What is exciting about this new publication is that every piece is professionally translated from Arabic to English—or vice versa. Since “Palestinians in the Diaspora often don’t read Arabic as their mother tongue,” the creators say in their promotional materials, “we want our writers to become part and parcel of the international writing-guild as well.” In Fikra, the creators promise, “you’ll find Palestinian writers and artists from all corners of the word – from Gaza, the West-Bank, East-Jerusalem, 48, and the diaspora.”
READ MORE…
In 1946, Nobel Prize laureate and Guatemalan author Miguel Ángel Asturias published his magnum opus, El señor presidente, which would become one of the boldest and most inventive works of Latin American literature, an important predecessor for literary giants including Gabriel García Marquez, Mario Vargas Llosa, Isabel Allende, and Roberto Bolaño. However, the text remains relatively unknown in the English-speaking world. In this intimate and revelatory interview, Editor-at-Large José Garcia Escobar speaks with Guatemalan American author and translator David Unger on the complexities of translating Asturias’s great work into English, balancing authenticity and readability, and its political and artistic legacy.
In 2015, I was living in New York and often got together with the Guatemalan-American writer David Unger. A year prior, he had won the Miguel Ángel Asturias National Prize (Guatemala’s highest literary honor), and his novel The Mastermind (Akashic Books) had just come out.
We met every other month, more or less.
We would go to Home Sweet Harlem, on the corner of Amsterdam and 136th, or Chinelos, a Mexican restaurant just around the corner, and talk about books, translation, and life.
He told me he was flattered that Cristina García had agreed to blurb The Mastermind. He told me of the time he met and had a strong disagreement with Nicanor Parra. When Parra died in 2018, David wrote a piece for The Paris Review. He told me to go see Andrés Neuman at McNally Jackson and read more of his work. Then one day, as we walked back to his office at City College, he said, “I’m translating El señor presidente.”
READ MORE…
This week, our editors around the world report on the exciting developments in publishing and journalism. From expressions of the free press to Nobel laureates, read on for the latest from the ground in world literature!
Peera Songkünnatham, Editor-at-Large, reporting from Thailand
Launching this week, the web publication series Justice in Translation brings together urgent works from Southeast Asian languages; its first releases include an incendiary poem about children’s rights translated from Malay, a short story about how to write about dispossession translated from Filipino, and essays on legal reform and educational equity translated from Indonesian. Part of a five-year initiative on Social Justice in Southeast Asia at the University of Wisconsin-Madison, the series brings the institutional capacity of the academy in sustaining the practice of translation as advocacy in the region, giving both international exposure and small honorariums.
What “international exposure” looks like is being reconfigured through digital academy-fueled efforts like this one. As the anti-dictatorship three-finger salute drawn from The Hunger Games has spilled over Thai borders to Myanmar and other countries, so has the “broad” English-speaking audience for domestic issues, which increasingly includes people in one’s neighboring countries.
And as the “Milk Tea Alliance” spreads beyond East Asia, a sense of transregional solidarity has also pervaded public works of scholarship. Last week, the Southeast Asia-focused academic blog New Mandala, hosted by the Australian National University’s Coral Bell School of Asia Pacific Affairs, announced a partnership with the Indo-Pacific-focused independent platform 9DashLine. One can hope to see more transregional essays such as this recent one by Show Ying Xin about literary translation in plurilingual Malaysia and Singapore, which troubles the distinction between translating “within” and translating “out.” READ MORE…
Wearing a thin sweater, a colorful scarf, and a dazzling smile, Ana María welcomed us to her house in Zone 15, Guatemala City. Outside it was pouring, much like when she presented her famed Poemas de la izquierda erótica (Poems from the Erotic Left), forty-six years ago. She offered us tea—“To fight back the cold,” she said, still smiling—and told us we had to do the interview in the living room, not upstairs, because, “There are books scattered everywhere; imagine, a lifetime spent collecting books.” And, yes, one can only imagine.
Ana María Rodas, born in 1937, is a veteran Guatemalan poet, journalist, and teacher. Her career spans more than sixty years. She has released close to twenty books, and her work has been translated into English, German, and Italian. In 1990, she simultaneously won the poetry and short story categories of the Juegos Florales de México, Centroamérica y el Caribe. In 2000, she won the prestigious Miguel Ángel Asturias National Prize in Literature for her life’s work. She is also one of the leading figures of Guatemalan and Central American feminism. She has lived her whole life in Guatemala. And one cannot say this lightly. She grew up during the Jorge Ubico dictatorship (1931–1944), admired how the Guatemalan Revolution toppled Ubico in 1944, thrived during the so-called Ten Years of Spring, lamented the 1954 CIA-backed coup that removed the democratically elected, progressive president Jacobo Árbenz, and witnessed the atrocities of the Civil War (1960–1996). Many of her friends and colleagues were killed during that time. Alaíde Foppa, Irma Flaquer, and her dear friend, Luis de Lión, author of El tiempo principia en Xibalbá—considered one of the cornerstones of contemporary Central American literature. Even if she never picked up a rifle or joined the militarized resistance, her feminist struggle and intellectual defiance have influenced many generations.
She’s not a cynic, though. Or bitter. She’s hopeful. “Even though we have a brute for president,” she says, “I believe in resisting.” And resisting, Ana María has done.
But as much as Ana María is grandmotherly and warm, as much as she’s a jokester and amicable, she is also analytical, astute, and disarmingly agile. She’s a force of nature, a rising tide, and an unmovable object. Her poetry is sensitive, electric, and subversive.
READ MORE…
This week’s dispatches report on a four-day literature festival in Italian-speaking Bellinzona in Switzerland, a new podcast dedicated exclusively to Guatemalan and Central American literature, as well as news of the arrest of journalist Hajar Raissouni in Morocco and a theatre group resisting such censorship and freedom of the press violation with a performance of Don Quixote.
Anna Aresi, Copy Editor, reporting from Switzerland
An interest in mapping (often the result of conquests and colonization) and remapping—rethinking what was erased and systematically left out in the mapping process—is at the core of Lost Children Archive, Valeria Luiselli’s latest novel. In Lost Children Archive, mapping is related to sound: “Focusing on sound forced me to hear as opposed to seeing, it forced me into a different rhythm. You cannot consume sound immediately,” she explains, “when focusing on sound, you have to sit with it, let it unfold.” It is within this rhythm, she adds, that English emerged as the language that was conducive to the writing of this novel, which she had begun writing in both English and Spanish simultaneously.
Luiselli reflects on this and other aspects of her writing in an intense conversation with Italian writer Claudia Durastanti, in the intimate setting of Bellinzona’s social theater.
Every year, Bellinzona—the capital of Swiss Italophone Canton Ticino—hosts Babel Festival, a four-day event entirely dedicated to literature and translation. This year’s fourteenth edition, entitled “You will not speak my language,” explored the limits and boundaries of language and literature, as well as languages that are “imagined, invented, despised, censored, regional, silent, visual, and enigmatic.”
READ MORE…
This year marks the twenty-fifth anniversary of Guatemala’s longest-lasting publishing house, Magna Terra Editores. Founded in November 1994 by poet and novelist Gerardo Guinea—and now run by him and his son Paolo—Magna Terra has published more than two thousand books and has propelled the careers of writers across three generations. As the press nears its bodas de plata, early this month I sat down with the two editors to talk about Magna Terra’s beginnings, the press’s many houses, and transitioning from a hectic McPress to a much more Zen indie house that boasts some of the best books produced in the country. Its author list is undoubtedly proof of this.
—José García Escobar
In the early 1990s, when Magna Terra was nothing more than a dream, its founder, Gerardo Guinea, and his family were exiled to Mexico City by the Guatemalan Civil War (1960-1996). He was one of many. Other famed Guatemalan writers, such as Luis Cardoza y Aragón and Raúl Leiva, also chose to live abroad given the local political climate. After all, the government often persecuted writers. Otto René Castillo, Luis de Lión, and Alaíde Foppa are just a few of the many intellectuals the government and army killed during the war. While in Mexico, Gerardo had the chance to visit and become familiar with local publishing houses. He met with Joaquín Diez-Canedo of Joaquín Mortiz Editorial, now part of Grupo Planeta, and Carlos López of Editorial Praxis. As he watched the editors working, the books piling up on the shelves enthralled him. He wondered, as the talks of peace in Guatemala became more frequent, if he could create something similar at home. READ MORE…
Last October, the Spanish publishing house Alfaguara put out Ya nadie llora por mí, the most recent novel from the acclaimed Nicaraguan writer, Sergio Ramírez and sequel to his 2009 novel, El cielo llora por mí (The Sky Cries for Me). A couple of weeks later, the Spanish Ministry of Culture announced that Sergio was the winner of the 2017 Miguel de Cervantes Prize, the most important literary award for Spanish-language writers. Other laureates include Jorge Luis Borges, Carlos Fuentes, and Mario Vargas Llosa. Sergio is the first Central American writer to receive this distinction. He has published around thirty books, two of which have been translated into English: Divine Punishment (McPherson & Company) and the 1998 Alfaguara Prize winning novel Margarita, How Beautiful the Sea (Curbstone Books).
Three months later, Sergio and I—his umpteenth interviewer since November—got together at a fancy hotel on the misty mountains of Guatemala City, hours before he presented Ya nadie llora por mí in SOPHOS bookstore. I imagined all the questions Sergio had answered during the past few months. What does it feel like to have won it? Where were you when you got the news? Can you give us a preview of your acceptance speech? I should ask him about his favorite Guatemalan dish, I thought, to shake things up.
Sergio is kind but equally incisive, serene, and voracious. He speaks with care and potency about Central American literature, being a writer, and Centro América Cuenta. Hosted in Nicaragua, this is the biggest literary festival of the region that seeks to strengthen Central American writers and bring them closer to the rest of Ibero-America. Sergio, with a cup of coffee in his hand, is also critical of the contaminated reality of his country. A reality from which his work often comes to life.
In Ya nadie llora por mí (Nobody cries for me anymore) inspector Dolores Morales has been discharged from the National Police, and he now works as a private investigator. He mostly handles cases about adultery for clients with no money. Then the disappearance of a millionaire’s daughter takes him out of his routine. In Sergio’s latest novel we also get to see how corruption and abuse of power underlie the revolutionary discourse of contemporary Nicaragua.
“As a citizen, I desire a different reality,” he says. “As a writer, I take advantage of it.”
Sergio is arguably the most important Central American writer today.
José García Escobar (JGE): What was it like to revisit detective Dolores Morales for your latest book? Did you have the story for Ya nadie llora por mí first, and then realized you needed Dolores to tell it? Or was it the other way around?
Sergio Ramírez (SR): I came up with the story first. I wanted to write about Nicaragua today, and for this, I needed a character like Dolores: a detective and former guerrilla. Noir fiction, or novela negra, as we call it, gives me the opportunity to look at the events I’m writing about from afar. With this distance I can add humor, irony. Also, given his background, this character helped work around that distance. Dolores is often bound by his ethic, a type of ethic he picked up from his years as a guerrillero; he uses that critical thought and critical distance for his work, but at the same time he’s always at risk of getting contaminated by that environment. He observes the situations as he would have in the past and is that moral nostalgia and critical distance that allows my character to lead the book.
READ MORE…
Your weekly shot of global literary news is here! Today we travel to Austria, Costa Rica, Guatemala, and Morocco to find out about the latest prizes, performances and literary festivals.
Contributor Flora Brandl reporting from Austria:
In the southern state of Styria, the oldest Austrian festival for contemporary art, Steirischer Herbst (Styrian Autumn), recently opened with a powerful speech by the Austrian composer Georg Friedrich Haas. Styrian-born, Haas is one of the most renowned figures of the international New Music scene and currently teaches at Columbia University.
In his opening speech, Haas reflected on the dynamics of the remnants of Nazism and the burgeoning avant-garde art scene in Styria. While Nazism was always at the forefront of fighting so-called “degenerate art”—“for they knew: art is dangerous for them”—it also provided fertile grounds for a creative form of resistance: “We [artists] were spurred by the pain and the rage and the grief,” Haas recounted. He ended with an invocation that the role of artists today is to “spread the virus of humanitarianism” in the wake of a worldwide rise of fundamentalism. A political speech with a very personal note, the entire speech can be read in the original German here.
READ MORE…
Another week full of exciting news! Paul and Kelsey bring us up to speed on what’s happening in Mexico and Guatemala. We also have José García providing us with all the updates about Central American literary festivals you could wish for. Finally, we are delighted to welcome aboard our new team-members, Valent and Norman, who share news from Indonesia.
Paul Worley and Kelsey Woodbury, Editors-at-Large for Mexico, report:
In conjunction with partners such as the Forum of Indigenous Binational Organizations (FIOB) and the Indigenous Community Leadership (CIELO), the LA Public Library in California, US, recently announced that it will host the second annual Indigenous Literature Conference on July 29 and 30. As stated on Facebook, the conference’s “first day will be dedicated to the indigenous literature from (the Mexican state of) Oaxaca,” with “the second (being) broader in scope.” Among those slated to participate are the Oakland, California-based Zapotec writer and artist Lamberto Roque Hernández, Zapotec poet Natalia Toledo, and Me’phaa poet Hubert Matiuwaa, whose Xtámbaa was recently reviewed here in Asymptote.
On July 14 in Guatemala, K’iche’/Kaqchikel Maya poet Rosa Chávez announced the publication of a new poetry fanzine entitled AB YA YA LA. Limited to 40 in number, each copy is unique and contains different details.
READ MORE…
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[
""
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[
"Susanna Sharpe"
] |
2020-08-20T22:00:23-05:00
|
en
| null |
By DANIEL ARBINO
Vea abajo para versión en español
The Nettie Lee Benson Latin American Collection is thrilled to announce the acquisition of the Miguel Ángel Asturias Papers. Asturias, the 1967 Nobel Laureate in Literature from Guatemala, was a precursor to the Latin American Boom. A prolific writer of poetry, short stories, children’s literature, plays, and essays, he is perhaps best known as a novelist, with El Señor Presidente (1946) and Hombres de maíz (1949) garnering the most acclaim. Asturias’s portrayal of Guatemala and the different peoples that live there—their beliefs, their interactions, their frustrations, and their hopes—mark the profundity of his texts.
The Benson is the third repository to house materials pertaining to Asturias’s life work, the other two being the Bibliothèque nationale in Paris and El Archivo General de Centroamérica in Guatemala City. What differentiates this particular collection is the role that Asturias’s son, Miguel Ángel Asturias Amado, played in compiling it over the course of fifty years. Indeed, in many ways the collection is just as much the son’s as it is the father’s. It features years of correspondence between the two, who were separated after the elder was forced to leave Argentina in 1962. This was not the writer’s first time in exile: his stay in Argentina was due to the Guatemalan government, led by Carlos Castillo Armas, stripping his citizenship in 1954. The letters provide insight into Asturias as a father, writer, and eventual diplomat when democratically elected Guatemalan President Julio César Méndez Montenegro restored his citizenship and made him Ambassador to France in 1966. Moreover, scholars will find within these letters a number of short stories for children that would eventually be collected in the book El alhajadito (1962).
In addition to correspondence with his son, Asturias maintained a longstanding relationship with his mother via letter during his first stay in Paris in the 1920s. Detailed within are the family’s economic hardships as a result of the country-wide crisis in Guatemala caused by the plummeting international coffee market, and information pertaining to the publication of his first collection of short stories, Leyendas de Guatemala (1930). Other communication from this era demonstrates the role that Asturias played in facilitating the publication of other Guatemalan authors and as a journalist for El imparcial.
Beyond letters, scholars will find a multifaceted collection. Manuscripts of poetic prose, such as “Tras un ideal” (1917), and an early theater piece titled “Madre” (1918) are included with loose-leaf fragments from El señor presidente. News clippings are also prominent. Those written by Asturias reflect his time at El imparcial while those written about him focus on his Nobel Prize. Perhaps an unexpected highlight is the audiovisual component of the collection. The author contributed an array of caricatures, doodles, and portraits, as well as a robust collection of photographs. Furthermore, there are several audio recordings of Asturias reading his work.
Finally, scholars will also be able to access studies dedicated to the work of Asturias and first, rare, and special editions of his books. These editions, meticulously collected and cared for by his son, reflect the author’s continued popularity.
The addition of the Miguel Ángel Asturias Papers will bolster a growing collection of prominent Central American subject matter at the Benson that includes the Ernesto Cardenal Papers, the Pablo Antonio Cuadra Papers, the Victoria Urbano Papers, the Arturo Taracena Flores Collection, and the Digital Archive of the Guatemalan National Police Historical Archive. Once Benson staff can safely return to our offices, we will announce plans to process the collection . In the meantime, questions can be directed to Daniel Arbino, Benson Head of Collection Development, at d.arbino@austin.utexas.edu.
La Colección Benson adquiere el archivo del Premio Nobel Miguel Ángel Asturias
Por DANIEL ARBINO
La Colección Latinoamericana Nettie Lee Benson se complace en anunciar la adquisición de los documentos de Miguel Ángel Asturias, Premio Nobel de 1967. El autor guatemalteco fue un precursor del boom latinoamericano. Escritor prolífico de poesía, cuentos, literatura infantil, obras de teatro y ensayos, es quizás mejor conocido como novelista, y El señor presidente (1946) y Hombres de maíz (1949) son las más aclamadas. La representación de Guatemala y sus variados pueblos, creencias, interacciones, frustraciones y esperanzas, marcan la profundidad de sus textos.
La Benson es el tercer archivo que reune materiales de la vida de Asturias, después de la Bibliothèque nationale en París y El Archivo General de Centroamérica en la ciudad de Guatemala. Lo que distingue a esta colección en particular es el papel que desempeñó el hijo de Asturias, Miguel Ángel Asturias Amado, en su recopilación a lo largo de cincuenta años. De hecho, la colección es, en muchos sentidos, tanto del hijo como del padre. Presenta años de correspondencia entre los dos, que se separaron después de que el padre tuvo que abandonar la Argentina en 1962. Ésta no fue la primera vez que el escritor se había tenido que ir al exilio: su estadía en la Argentina se debió a que el gobierno guatemalteco, liderado por Carlos Castillo Armas, le había despojado de su ciudadanía en 1954. Las cartas dan una idea de Asturias como padre, escritor y eventual diplomático, después de que Julio César Méndez Montenegro, el presidente de Guatemala democráticamente elegido, restauró su ciudadanía y lo nombró embajador en Francia en 1966. Además, los investigadores encontrarán dentro de estas cartas una serie de cuentos para niños que se recopilarían en el libro El alhajadito (1962).
Aparte de la correspondencia con su hijo, Asturias mantuvo una larga relación epistolar con su madre durante su primera estancia en París en la década de los 1920. Ahí se detallan las dificultades económicas de la familia como resultado de la crisis que atraviesa la sociedad guatemalteca, por la caída del precio del café a nivel internacional, e información relativa a la publicación de su primera colección de cuentos, Leyendas de Guatemala (1930). Otra comunicación de esta época demuestra el papel que desempeñó Asturias al facilitar la publicación de otros autores guatemaltecos y como periodista de El imparcial.
Asimismo, los investigadores verán una colección multifacética. Los manuscritos de prosa poética, como “Tras un ideal” (1917) y una obra de teatro titulada “Madre” (1918) se incluyen, tanto como fragmentos de hojas sueltas de El señor presidente. Los recortes de periódicos también son prominentes. Los escritos por Asturias reflejan su tiempo en El imparcial, mientras que los escritos sobre él se centran en su Premio Nobel. Quizás un punto destacado inesperado es el componente audiovisual de la colección. El autor contribuyó con una serie de caricaturas, garabatos y retratos, así como una colección robusta de fotografías. También, hay varias grabaciones de audio de Asturias en las cuales realiza lecturas de sus obras.
Por último, los académicos también podrán acceder a los estudios dedicados al trabajo de Asturias y a las primeras, raras y especiales ediciones de su trabajo. Estas ediciones, meticulosamente recopiladas y cuidadas por su hijo, reflejan la continua popularidad del autor.
La adquisición de los documentos de Miguel Ángel Asturias reforzará una creciente colección de materiales destacados de Centroamérica en LLILAS Benson, que incluye el archivo de Ernesto Cardenal, el archivo de Pablo Antonio Cuadra, el archivo de Victoria Urbano, la colección de Arturo Taracena Flores y la colección digital del Archivo Histórico de la Policía Nacional (AHPN) de Guatemala. Una vez que el personal de Benson pueda regresar de manera segura a nuestras oficinas, pronto seguirán los planes para procesar la colección. Mientras tanto, las preguntas pueden dirigirse a Daniel Arbino, Jefe de Desarrollo de Colecciones de la Benson.
%CODE1%
Mario Vargas Llosa was awarded the 2010 Nobel Prize in Literature on Thursday.
Though he holds Spanish dual citizenship and currently resides primarily in London, his birth, his background and his oeuvre make him thoroughly Peruvian.
In announcing the award, the jurors cited Vargas Llosa’s “cartography of the structures of power and his sharpened images of resistance, rebellion, and defeat of the individual.”
The author’s published works, in Spanish and translated editions, are held in the Benson Latin American Collection and other campus libraries, and a chapter from Vargas Llosa’s upcoming novel is available online.
Jorge Mario Pedro Vargas Llosa (1936- ) was born in Arequipa, Peru, a provincial capital south of Lima. He spent his youth with his mother and members of her family in Cochabamba, Bolivia, Piura, on the northern coast of Peru, and Lima, where he attended San Marcos University and published his first pieces of fiction. In 1958, Vargas Llosa graduated from university and received a scholarship for study in Madrid, beginning a twelve-year residence abroad.
While living in Europe– first Madrid, then Paris and London– he worked as a journalist and wrote novels that gained critical acclaim. La Ciudad y los perros (1963) won the Premio de la Critica Española despite stirring animosity in Peru for its thinly-veiled criticism of the ruling military. Publication of La Casa verde in 1965 firmly established Vargas Llosa as a member of what came to be known as the “Latin American Boom,” a generation of writers that include fellow Nobel laureate Gabriel García Márquez and Carlos Fuentes. Film aficionados may recognize La Tía Julia y el escribidor from its film adaptation as Tune in Tomorrow.
Vargas Llosa’s novels introduce his readers to Latin America’s rich legacy of historical characters. La Guerra del fin del mundo evokes events of Brazil’s 19th century internal war and La Fiesta del chivo reflects on the last days of the Dominican dictator Rafael Trujillo. Two novels, Historia de Mayta (1984) and Lituma en los Andes (1996) are set in the events of Peru’s intestine struggle with the guerrilla group, Shining Path. This traumatic period in Peruvian history inspired Vargas Llosa to more than fiction. He became a candidate for the presidency in the 1990 election. His defeat by the now incarcerated Alberto Fujimori proved a blessing for a man whose artistic skills far surpass his politics and for those of us who find pleasure in reading.
Since the 1990s, Vargas Llosa has resided primarily in London. He was awarded Spanish citizenship in 1993 and elected to the Real Academia Española in 1994. He has become an articulate spokesman for the importance of the Spanish language and Spanish culture. This fall Vargas Llosa is living in Princeton as a Distinguished Visitor and, now, a Nobel laureate.
David Block is Latin American Studies Bibliographer at the Benson Latin American Collection.
|
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correct_award_00058
|
FactBench
|
3
| 52
|
https://www.americasquarterly.org/article/when-chiles-indigenous-made-the-spanish-back-down/
|
en
|
When Chile’s Indigenous Made the Spanish Back Down
|
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[
"Jacob Sauer"
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2022-07-26T10:00:00+00:00
|
Behind today’s conflict in southern Chile is a long history of resistance to outsiders, a historian writes.
|
en
|
Americas Quarterly
|
https://www.americasquarterly.org/article/when-chiles-indigenous-made-the-spanish-back-down/
|
Reading Time: 6 minutes
This article is adapted from AQ’s special report on supply chains
Today’s unrest in southern Chile, where Indigenous groups are protesting environmental damage and calling for the return of ancestral lands, has presented a major challenge to the new government of Gabriel Boric. Following numerous incidents of violence, including killings, roadblocks and the burning of homes, trucks and machinery, Boric in May declared a state of emergency to try to restore calm.
Some outside observers may be hearing about Indigenous issues in Chile’s south for the first time. But in truth, these are only the latest episodes in a nearly 500-year quest for independence and autonomy in which outsiders have consistently struggled—and sometimes failed—to exert a degree of control.
The Spanish first encountered the Mapuche people, the largest Indigenous group in modern-day Chile, in 1537. For the next few years, interactions were limited to small skirmishes as the Spanish set up forts in Mapuche territory. But the Spanish would soon discover they had encountered a fierce and resilient adversary. In 1553, the Spaniards were taken by surprise by a highly coordinated and devastating attack. The Mapuche killed the Spanish governor in a fort called Tucapel and forced the Spaniards to abandon all but one of their settlements in Mapuche territory.
A Mapuche war chief named Lautaro—formerly a Spanish captive—even led a march on the colonial capital, Santiago. The Spanish were on the ropes for five years, until reinforcements from Peru helped them defeat the Mapuche and retake their settlements. But Mapuche resistance didn’t end there. It was only the beginning of the War of Arauco, a struggle between Spaniards and Mapuche that lasted nearly a century—and only ended with peace negotiations that heavily favored the Mapuche. Those negotiations established a formal frontier and resulted in an official recognition as an independent people, something no other Indigenous group ever received from the Spanish crown.
That set the Mapuche apart. The fierceness of their resistance to Spanish incursions soon attracted the attention of European writers, inspired Indigenous revolts as far as 5,000 miles away and continued to serve as a touchpoint for Western Hemisphere independence movements centuries later.
The story of the parlamentos—the series of negotiations and treaties enacted between the Mapuche and Spanish exemplified in the Parlamento de Quilín in 1641—is one of striking Indigenous power and agency. As scholars continue to reevaluate traditional notions of European superiority and passive acquiescence by native cultures, what the Mapuche achieved at the Parlamento de Quilín reminds us that the reality is far more intricate and nuanced.
Meeting the Mapuche more than halfway
The seeds of the parlamentos were sown starting in the late 1500s. Near the end of the century, the Mapuche mounted another crippling offensive, killing the Spanish governor for a second time and driving the Spanish north of the Bío Bío River—which became an informal frontier between the Spanish to the north and Mapuche to the south. Both sides would send raids into each other’s territory, and the Spanish sent Jesuit missionaries, too, in an attempt at “baptismal conquest”—though most were killed by the Mapuche.
It was clear that some kind of negotiation was necessary to put a halt to the violence and recognize the facts on the ground: namely, that the Mapuche were simply too strong for the Spanish to colonize successfully. But what form would that negotiation take? The logistics and protocols were undefined, and there were few precedents. The Spanish rarely had genuine negotiations with Indigenous communities in the Western Hemisphere—usually, they preferred to dictate the terms themselves. Most treaties were one-sided and conducted with underlying threats of violence.
But the two groups had already had a degree of peaceful contact. A few community leaders had even allied with the Spanish, which gave Spanish leaders insight into Mapuche cultural practices. Those agreements laid the foundation for the parlamentos.
However, the two groups had different customs around negotiation. The Mapuche had their koyagtun, a meeting in which representatives from different communities met to deliberate over war, peace, trade and exchange. Koyagtun took place over multiple days and were deeply influenced by the ritual aspects of Mapuche culture.
Since the Spanish couldn’t overpower their adversaries with violence in this case, they had to adopt much of the Mapuche’s negotiating culture. The resulting system, the parlamento, was a unique, hybrid institution, blending the koyagtun with Iberian forms of negotiation. At the first, relatively small-scale parlamentos, the Mapuche got to pick the time and place, and the Spanish representative, usually the governor, had to enter holding branches from a canelo tree and exchange gifts—all part of the koyagtun protocols.
The early parlamentos were generally held not too far from Spanish settlements. But the famous and most consequential parlamento of Quilín in 1641 was held deep in Mapuche territory—an indication of how much they held the upper hand.
Over 2,000 Mapuche from across the region attended the negotiations at Quilín, and so did the governor of Chile, Francisco López de Zúñiga, Marquis of Baides. The fact that a Spanish nobleman was negotiating on equal terms with Indigenous groups was revolutionary, especially considering what his participation entailed. A llama was sacrificed in front of him and branches from a sacred tree were anointed with its blood. The llama’s heart was carved out, still beating, and delivered to the marquis. Then, along with the Mapuche chiefs, the marquis drank chicha, a type of corn beer, and both the Mapuche and Spaniards buried their weapons to finalize the pact.
The parlamento had two major impacts. One was formal recognition of the Mapuche as an independent people, and other set the Bío Bío as the southern frontier of the Spanish empire. The Spanish King Felipe IV ratified the parlamento in 1643—offering a level of official recognition by the crown that no other Indigenous group in the Western Hemisphere ever received.
It also set the terms for a long-lasting, if uneasy, peace. Raids continued in both directions across the Bío Bío River, and the Mapuche crossed the river to make a larger attack in 1655 to enforce aspects of the treaty, but no major military offensives were carried out by the Mapuche or Spanish until after Chilean independence, more than 150 years later. And parlamentos continued over the intervening decades, showing that the Spanish and Mapuche had devised a workable way of settling their disputes.
A reputation for resistance
The world paid attention to the achievements of the Mapuche in maintaining independence against Spanish incursions—starting even before the parlamentos. Even while the Arauco War was still raging, the Mapuche were attracting fame throughout the Spanish-speaking world. In his 1569 epic poem “La Araucana,” Alonso de Ercilla y Zúñiga, a Spanish soldier, extolled the virtues of the Mapuche in a narrative based on his experiences in the field. “La Araucana” became one of the best-known epic poems of the era and was mentioned by famous authors including Miguel de Cervantes and Jules Verne.
Knowledge of the Mapuche appears to have inspired Indigenous leaders to fight against the Spanish in other parts of the Western Hemisphere. In northern Mexico, a Yaqui Indigenous warrior calling himself Juan Lautaro—possibly named after the Mapuche leader—attempted to lead an offensive against the Spanish and their allies in northern Mexico in the mid-17th century, doubtless inspired by the Mapuche and perhaps due to the fame of “La Araucana.”
The Mapuche legacy continued into the early 1800s, when revolutionary leaders invoked their example to rally support. Writing in 1815, Simón Bolívar extolled the Mapuche “love for independence” and affirmed that those with the same spirit “usually end up winning.” It is this legacy, in large part, that the Mapuche today draw upon in their continuing fight for land rights and autonomy.
Meanwhile, efforts to find new political forms to meet hopes for Indigenous rights are moving in new directions. A proposed new Chilean constitution, which will be voted on in September, includes provisions for Indigenous recognition and return of some ancestral territory. Time will tell whether such arrangement will prove as durable or effective as those set by the Parlamento de Quilín.
—
Sauer is a senior lecturer in anthropology at Vanderbilt University. He is the author of The Archaeology and Ethnohistory of Araucanian Resilience.
Tags: Chile, Lautaro, Mapuche, Parlamento de Quilín
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correct_award_00058
|
FactBench
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3
| 29
|
https://strawpoll.com/most-famous-guatemalan
|
en
|
The Most Famous Guatemalan, Ranked
|
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Guatemala has produced a wide array of talented individuals who have left their mark on various fields, from the arts and science to sports and politi...
|
en
|
/apple-touch-icon.png
|
StrawPoll
|
https://strawpoll.com/most-famous-guatemalan
|
About this ranking
This is a community-based ranking of the most famous Guatemalan. We do our best to provide fair voting, but it is not intended to be exhaustive. So if you notice something or Guatemalan is missing, feel free to help improve the ranking!
Voting Rules
A participant may cast an up or down vote for each Guatemalan once every 24 hours. The rank of each Guatemalan is then calculated from the weighted sum of all up and down votes.
|