Latin American Vanguards. The Art of Contentious Encounters

166 Pages·7.48 MB·English

by  Vicky Unruh

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Contents
ACKNOWLEDGMENTS IX
LIST OF ABBREVIATIONS Xlll
Introduction:
Contentious Encounters in Life and Art 1
l.
Constructing' an Audience, Concrete and lliusory:
Manifestos for Performing and Performance Manifestos 31
2.
Outward Turns ofthe Vagabond Eye/I:
The Vanguards' Portraits ofthe Artist 71
3.
"Surely from his lips a cockatoo will fly'':
The Vanguards' Stories ofthe NewWorld 125
4.
On the Interstices of Art and Life:
Theatrical W orkouts in Critical Perception 170
5.
From Early W ords to the Vernacular Inflection:
Vanguard Tales ofLinguistic Encounter 207 )(
vii
viii CONTENTS
NOTES 263
WORKS CITED 283
INDEX 301
Acknowledgments
\
The story of a book encompasses numerous individuals and institu
( tions. My work on Latin America's literary vanguards began with a
/ 1984 doctoral dissertation on the connections between literary aesthet
/ ics and cultural nationalism in the vanguard movemen! i?}>eru. The
-unanswered questions emerging from that project took meona very
different course that has culminated with this book. Initial research was
supported by a postdoctoral resident fellowship at the Center far Twen
tieth Century Studies, University of Wisconsin-Milwaukee, in 1985-
86, made possible by release time from the Department of Spanish and
Portuguese. At the center, I was privileged to participate in a remark
able faculty seminar, "Rewriting Modernism," eminently enriched by
the intellectual guidance of center director Kathleen Woodward and
seminar organizer Andreas Huyssen and by the participation of other -,
(
fellows. Subsequent support carne from the Graduate School of the )
University ofWisconsin-Milwaukee and the General Research Fund of
the University of Kansas, and the presentation of project material at
professional conferences was supported by the Center far Latin America
' 1
_)
at the University of Wisconsin-Milwaukee and the Graduate School
and Center ofLatinAmerican Studies at the University ofKansas. I was
also assisted by the staff of the Benson Latin American Collection of
'
the University ofTexas at Austin, in particular, Ann Hartness, and, in (' _;
very early stages, of the Sala de Investigaciones Bibliográficas of the
Biblioteca Nacional del Perú. The Spencer Research Library at the Uni
versity ofKansas provided a study during the final revisions.
ix
Abbreviations
Far frequently cited works, I have used the fallowing abbreviations.
Unless otherwise indicated, ali translations from Spanish and Portu
guese are my own. When citing published translations, I provide two
separate page sources: the first far the Spanish or Portuguese original
and the second far the translated version.
1. WORKS AND COLLECTIONS
SOA 50 años del movimiento de vanguardia de Nicaragua, ed. Pablo Anto
nio Cuadra (Managua: El Pez y la Serpiente, 1979).
BMP Giovanni Pontiero, ed., An Anthology of Brazilian Modernist Poetry
(Oxford: Pergamon, 1969).
GMT Gilberto Mendons;a Teles, Vanguarda européia e modernismo brasi
leiro (Petrópolis, Brazil: Vozes, 1976).
HV Rugo Verani, Las vanguardias literarias en Hispanoamérica: Mani
fiestos, proclamas y otros escritos (Rome: Bulzoni, 1986).
INPA Alberto Hidalgo, Vicente Huidobro, and Jorge Luis Borges, Indice
de la nueva poesía americana (Buenos Aires: El Inca, 1926).
LHA Luis Hernández Aquino, Nuestra aventura literaria: Los ismos en la
poesía puertorriqueña, 1913-1948 (San Juan: Ediciones de la Torre,
University of Puerto Rico, 1966).
MPP Nelson Osorio, Manifiestos, proclamas y polémicas de la vanguardia
literaria hispanoamericana (Caracas: Ayacucho, 1988).
OC Obras completas. Used with volume and page number for several au
thors.
xiii
'
ACKNOWLEDGMENTS xi
ACKNOWLEDGMENTS
network-Vrrginia and Dell Hymes, Norma Wolff, and Til and Víctor
I am profoundly indebted to each and every one of my colleagues in
Unruh-and, above ali, my best friend, David Unruh, and our wise
the Department of Spanish and Portuguese at the University ofKansas
for creating, under the superb leadership of Robert Spires and, more daughters, J ennifer and Rachel.
'
Sorne material in this book appeared in earlier forms. The chapter 1
recently, Roberta Johnson, a singularly warm and vital atmosphere of
section on the Chinfonía burguesa is a revised version of "The Chin
collegial support and intellectual exchange that enabled me to complete
this book. I have also been favored with the challenging dialogue pro fonía burguesa: A Linguistic Manifesto of Nicaragua's Avant-Garde,"
published in Latin American Theatre Review 20.2 (Spring 1987): 37-
vided by many graduate students, particularly those in my seminars on
~
the vanguards. AB the project moved toward completion, the interest 48, and is reprinted with permission. The chapter 2 section on La edu - /
and encouragement of Roberto González Echevarría were fundamen cación sentimental is a revised version of "Art's 'Disorderly Humanity' '
in Torres Bodet's La educación sentimental," Revista Canadiense de )
tal, as was the enduring conversation with fellow vanguardista Merlin
H. Forster, an exchange begun in Texas days. Eileen McWilliam, editor Estudios Hispánicos 17.1 (Fall 1992): 123-36, and is reprinted with \
_j
permission. The chapter 4 section on A morta is a revised version of "A
at the University of California Press, provided perceptive and learned
Theatre of Autopsy: Oswald de Andrade's A morta (The Dead
guidance for the review process, and Erika Büky and Sheila Berg pro
Woman)," published in One Hundred Years of Invention: Oswald de
vided careful and intelligent editing for transforming the manuscript
Andrade and the Modern Tradition in Latín American Literature, ed.
into a book. Gustavo Pérez Firmat, as a reader for the University of
K David Jackson (Austin: Dept. of Spanish and Portuguese/A baporu
California Press, provided insightful and substantive suggestions, as did
\
Press, 1992, 31-40), and is reprinted with permission. The chapter 4
two other, anonymous, readers. John Brushwood, Andrew Debicki, j
section on En la luna is a revised version of "Language and Perfor
Klaus Müller-Bergh, Robert Spires, and George Woodyard gave me \
thoughtful feedback on project proposals or on versions of individual mance in Vicente Huidobro's En la luna," published in Romance )
Quarterly 36.2 (May 1989): 203-12 by the University Press of Ken
chapters or chapter sections. '
tucky, and is reprinted with permission. The chapter 5 section on Cu _)
I am also grateful to the numerous people who at various stages
culcán is a revised version of "Double Talk: Asturias's America in Cu
provided me with materials or contacts, suggested material I might ex
culcán," published previously in Hispania, the journal ofthe American
amine, or raised or answered questions vital for the book's progress:
&sociation ofTeachers of Spanish and Portuguese, 75.3 (September
Raquel Aguilú de Murphy, Severino Albuquerque, Danny Anderson,
1992): 527-33.
Leslie Bary, Wtlliam R. Blue, John Brushwood, Lilly Caballero de
Cueto, Alonso Cueto, Michael Doudoroff, Merlin Forster, Regina
Harrison, Mark Hernández, David J ackson, Elizabeth J ackson, Ro berta
Johnson, Elizabeth Kuznesof, Ramón Layera, Linda Ledford-Miller,
Naomi Lindstrom, Javier Mariátegui Chiappe, Nieves Martínez de 01-
)
coz, Margo Milleret, Klaus Müller-Bergh, Julio Ortega, Charles Per
rone, Daniel Reedy, Judith Richards, Enylton de Sá Rego, Jorge J
Schwartz, J anet Sharistanian, Amelía Simpson, Raymond Souza,
Charles Stansifer, David Unruh, Emilio Vásquez, Jon Vincent, David J
Wise, and George Yúdice. Superb technical assistance was provided by
Victoria Hays, Pam LeRow, Paula Malone, and Lynn Porter of the Uni 'J
versity ofKansas and by my patient daughter, Jennifer Unruh, my navi
')
gator in the transition from Nota Bene to WordPerfect. Above ali, I
have been favored by the support of a family that keeps the intensity
' 1
of my professional life in balance. This includes my extended parental ' ___j
' 'i
_ _)
xiv ABBREVIATIONS
OP Nicolás Guillén, Obra poética, 1920-1972 (Havana: Arte y Literatura,
1974).
OPC Pablo Antonio Cuadra, Obra poética completa (S an José, Costa Rica:
Libro Libre, 1983).
PC Mário de Andrade, Poesias completas (Sao Paulo: Livraria Martins,
1980).
2. TRANSLATIONS
lntroduction
EAG E. A. Goodland translation of Macunaíma by Mário de Andrade.
EW Eliot Weinberger transfation of Altazor by Vicente Huidobro.
Contentious Encounters in life and Art
HW Helene W eyl translation of La deshumanización del arte by José Or-
tega y Gasset.
JT Jack Tomlin translation of Paulicéia desvairada by Mário de An
drade, including "As enfibraturas do Ipiranga."
KDJ Kenneth D. Jackson and Albert Bork translation of Serafim Ponte
Grande by Oswald de Andrade.
KS Katherine Silver translation of La casa de cartón by Martín Adán. In Julio Cortázar's novel Rayuela (1963), a canonical
LB Leslie Bary translation of the "Manifesto antropófago" by Oswald de work in Latin America's new narrative, the protagonist Horacio Oli
Andrade.
veira concocts nurn.erous games as paths to the e:x:istential insight and
RM Robert Márquez and David Arthur McMurray translations in Man
metaphysical unity he pursues. Two singular pastimes are linguistic.
Making Words: Selected Poems of Nicolás Guillén.
Horacio and his friends exhume obscure words from the "cemetery,"
RN Ralph Niebuhr and Albert Bork translation of Memórias sentimentais
their pet name for the Royal Academy's dictionary of the Spanish lan
de ]oao Miramar by Oswald de Andrade.
guage. He and his lover, La Maga, communicate secretly in glíglico
RS Rebecca Seiferle translation of Trilce by César Vallejo.
( or Gliglish), a language of her creation, and the novel's "Expendable
SMSR Stella M. de Sá Rego translation of the "Manifesto da poesía Pau
Chapters" include samples of this enigmatic idiom. In a similar vein,
Brasil" by Oswald de Andrade.
the 1970 dramatic experiment La orgástula by Chile's Jorge Díaz pre
sents two characters totally bound in gauze who communicate with an
invented language conforming to the morphology and syntax of Span
ish but otherwise unintelligible.
The linguistic strategies, antiacademic spirit, and implicit social cri
tique ofHoracio Oliveira's cemetery game have their roots in the liter
ary vanguard movements that emerged throughout Latin America in
the 1920s and early 1930s. The hermetic neologisms typical of La or
gástula and Cortázar's glíglico had made their Latin American literary
debut in the word games of early vanguardist poets and, more specifi
cally, in the verbal acrobatics ofVicente Huidobro's master poetic work
Altazor and the rhetorical posturings of the politically manipulative
marionettes in his 1934 play En la luna. In fact, vanguardist anteced
ents of Latin America's contemporary literary innovations are nurn.er
ous. The confrontations between high art and popular or mass culture
INTRODUCTION INTRODUCTION
that emerge in novels by Manuel Puig or Luis Rafael Sánchez or in broad range of phenomena: artistic experiments in many genres, po
Marco Antonio de la Parra's postmodernist dramatic exercises are antic lemics, manifestos, and public events and performances. , '
J
ipated by Roberto Arlt's novels and plays of the late 1920s and early Between the late teens and the mid-1930s, vanguardist activity
1930s and by Oswald de Andrade's 1920s collage narratives. Literary emerged throughout Latin America.1 This activity included severa! pos
encounters between modernity and the autochthonous undertaken in sible forms: the emergence of small groups of writers committed to
Alejo Carpentier's Los pasos perdidos (1953), in 1950s and 1960s indi innovation; the affirmation by groups or individuals of aesthetic or cul
genist prose :fiction experiments by José María Arguedas, Elena Garro, tural positions often designated by a particular "iJgi" or more broadly
and Rosario Castellanos, and in Mario Vargas Llosa's 1987 novel El as arte nuep,o (new art) or vanguardismo; }:he dissemination of these
hablador were initiated severa! decades earlier in Mário de Andrade's positions through written manifestos or public manifestations; engage
Macunaíma (1928), Miguel Angel Asturias's Leyendas de Guatemala ment by sorne groups in debates and polemics with others; experimen
(1930), and Carpentier's own early prose :fiction and experimental per tation in multiple literary and artistic genres and across generic bound 1
formance pieces. The assaults on narrative subjectivity offered by such aries; the publication of often ephemeral little magazines as outlets for j
·,
works as Juan Rulfo's Pedro Páramo (1955), Carlos Fuentes's La both artistic experiments and cultural debates; the organization of
./
muerte de Artemio Cruz and Aura (both from 1962), Guillermo Ca study groups or seminars; and serious investigations by these study .
brera Infante's Tres tristes tigres (1967), Osman Lins's Avalovara groups or by individual writers into language, folklore, and cultural his
(1973), or Luisa Valenzuela's Cambio de armas (1982) are foreshad tory. These activities were unquestionably stimulated in part by the Eu
owed by Martín Adán's 1928 prose experiment La casa de cartón. Car ropean avant-gardes of the pre- and post-World War I era, with key
los Oquendo de Amat's typographically unconventional 5 metros de poe figures such as Vicente Huidobro, Jorge Luis Borges, Alejo Carpentier,
mas (1927), printed on a single unfolding sheet, anticipates Octavio Oswald de Andrade, César Vallejo, Evaristo Ribera Chevremont, and
Paz's Blanco (1967). And the metatheatrical challenges to traditional Miguel Angel Asturias serving as transcontinental links. But Latin
spectator roles associated with contemporary playwrights such as José American vanguardism grew out of and responded to. the.cónfihe.Í}.t's
Triana, Emilio Carballido, Griselda Gambaro, and Díaz, among others, own cultural concerns. Out of these multiple activities, there emerged
1
had already been undertaken in experimental theatrical exercises written a serious critica! inquiry 0info ways of thinking about art and cultQ,re in j
in the late 1920s and the 1930s by Xavier Villaurrutia, Huidobro, Os Latin America. Qn the broadest level, the :five chapters in this study _)
wald de Andrade, and Arlt. · · examine the subst~ce of that inquiry. Speci:fically, I analyze manifestos
Recent scholarship has affirmed the historical importance of Latin and creative texts from ali genres to discern the changing ideas that )
America's interwar vanguard movements for the outstanding achieve these pose about the interaction between art and experience; about the
ments of contemporary Latin American literature. But my brief exercise purpose of literary activity and the changing roles of artists; about new 'J
in parallelisms and antecedents in and of itself provides a limited and roles for audiences and readers; and about connections between new
rJ
even distorted view of these movements. This is because Latin Ameri aesthetic ideas and long-standing concerns about Latin America's cul
ca's early twentieth-century vanguards may best be understood not in tural and linguistic identity.
terms of selected canonical works or individual authors' careers but ··
rather as a multifaceted cultural activity, manifested in a variety of cre
)
at:ive endeavors and events and seeking. to challenge and redefine the The Context and Character of the Vanguards
nature anci purpose of art. André Breton himself characterized Parisian ·
:j
surreálism as a form of activity, and theorists and investigators such
as Peter Bürger, Renato Poggioli, Matei Calinescu, Rosalind Krauss, My approach to Latin American vanguardism as a form i !
'j
Marjorie Perloff, and James Clifford have also approached the interna of activity rather than simply a collection of experimental texts exhib
tional pre-and post-World War I avant-gardes-the "historical" avant iting certain common features underscores the fact that vanguardists )
gardes, in Bürger's terms-as a type of activity that encompasses a themselves often conceptualized art and intellectual life as action or
-·'l. , <]
INTRODUCTION INTRODUCTION
doing. The pervasive activist spirit that characterized much of this liter bean countries, Indians, mestizos, and slave descendants continued to
ary work was consonant with the historical context in which the van be used as sources of cheap labor. Between the mid-teens and the late
guards emerged. -~elsog Osorip, one ofthe more context-sensitive ana 1920s, workers' groups in Argentina, Brazil, Chile, Cuba, Peru, Mex
lysts of these m~v~ments, has ~alled attention to the antioligarchic spirit ico, Uruguay, and Ecuador, and to varying degrees in other countries
ofthe era (MPPxxvi), an observation supported by the historical rec as well, organized demonstrations or general strikes, activities that usu
ord. The years from the late teens through the early 1930s constituted ally met with repressive official responses. In the Andean region, partic
j'
an epoch of contentious encounters manifesting the changing alliances ularly in Ecuador and Peru, periodic indigen?us rebe!lion~ intens~ed
that accompany shifting economic, social, and political conditions. the ambience of class and cultural con:frontatlon. Antifore1gn reaction /
Latin American nations experienced the impact ofWorld War I era eco in cities like Buenos Aires or Sao Paulo with large immigrant popula
nomic changes, of political hopes generated by the Russian revolution tions produced additional tensions as well. And in Mexico, the intersec
and international workers' movements, and of the pervasive postwar tion of urban-based pressures for liberal reform with a broadly based
disillusionment with European culture epitomized in Oswald Speng agracian revolt produced the continent's most consequential_~_cmten
ler's The Decline of the West (1918-22). Although specific situations tious encounte_r. of the epoch, the Mexican Revolution.
varied :from one country to another, certain features characterized con ----D~g this primarily reformist period ofLatinAmerican history, the
tinental life as a whole.2 middle class, :from which many vanguardist writers emerged, experi
Economically, the period was shaped by the consolidation of the enced conflicting pulls. Its interaction with traditional oligarchies seek
export-import growth model (Skidmore and Smith) and the "neocolo ing to shore up their own power broadened political participation (far
nialist pact" (Halperin Donghi). The years of the literary vanguards more in sorne countries than in others) and led to growth in the num
were marked by an intensifi.cation of rapid growth grounded in region ber and influence of political parties, :franchise extensions (t hough nota
specific dependence on one or two major exports and a consequent bly not yet to women), and government-sponsored educational and
interlocking of Latin American economies with world markets and fi social reforms. 3 Activist pressure for change, though often harshly pun
nancia! institutions. These developments were accompanied by a grad ished by a politically engaged military, intensified even under the au
ual shift in hegemony :from Europe to the United States with regard thoritarian regimes ofGerardo Machado in Cuba, Juan Vicente Gómez
to Latin America's economic-and often political-affairs. Economic in Venezuela, and Manuel Estrada Cabrera in Guatemala and the
expansion and demographic change stimulated the growth of major eleven-year reformist dictatorship of Augusto B. Leguía in Peru. This
cities, including Bogotá, Havana, Lima, Mexico City, Montevideo, more politicized middle class at times directed its attention to social
Santiago, Sao Paulo, and, most dramatically, Buenos Aires. Many of inequities. More radical developments included the formation ofLatin
these also provided the si tes of the limited industrial growth associated America's first socialist and Communist parties (though sorne were not
with consumer goods production and with the creation of in:frastruc officially recognized until years later) and the emergence ofthe conti
tures necessary to sustain export-import economies. This metropolitan nent's first important Marxist thinker, the Peruvian José Carlos Mariá
growth exacerbated imbalances and tensions between urban and rural t;egui, who was also an active promoter of Peruvian vanguardist activity
sectors. Large portions of rural populations continued to function at a Jand a knowledgeable analyst of the international literary vanguards.
subsistence level, on the margins of mainstream national economic life, Historians regard the continental university reform movement as ama
and were vulnerable to the economic highs and lows produced by jor component of the middle class's political awakening. This activity
single-export economies controlled by outside investors. took shape in Córdoba, Argentina, in 1918, and national and interna
Political changes shaped by these demographic conditions included tional student gatherings followed in Mexico, Chile, Panama, Peru,
the growth of a more politically aware and active middle class and the Brazil, Cuba, Uruguay, Colombia, and Puerto Rico. In addition, Peru's
development of significant workers' movements. In Argentina and Bra Victor Raúl Haya de la Torre, founder of the nascent APRA (Alian
zil and, to a lesser degree, in Chile and Peru, European immigration za Popular Revolucionaria Americana) movement, traveled widely
contributed to working-class growth, whereas in Mexico and Carib- throughout the continent and abroad, and he and his followers often