Trends in the Chilean short story

Item Type text; Thesis-Reproduction (electronic)

Authors Gregg, Karl Curtiss, 1932-

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/319078 TRENDS IN THE CHILEAN SHORT STORY

by Karl C. Gregg

A Thesis

submitted to the faculty of the

Department of Spanish in partial fulfillment of the requirements for the degree of

MASTER OF ARTS

in the Graduate College, University of Arizona

1954

Approved t Director of Thesl/s Ate

This thesis- has: heen submit ted,in partial.. fulfillment of

requirements for an s^dva.nee.d- degree at the University of V

Arizona and is deposited in the Library:to be made.avail­

able to borrowers under , rules,, of the Library« Brief

quotations from this -thesis are allowable.without special p ermiasion 9 provided .that. aoeurate . acknowledgement, of

source, is made<, Requests for permisslon, for extended

quotation from or reproduction of this ’ manuscript in -.whole

or in. part may be granted by the head of the major depart­ ment or the dean of,the Graduate Oollege when in their

judgement the proposed use'of the. material is in the,

interests of scholarship.« In all other instances 9 however $ permission must be obtained from the authoro

■ f v . . : , :S1UHED8 - ; ; TABLE OF CONTENTS

To Introduction . Page 1

IT® Short Storsr Trends . Beginning Before 1 9 0 0 7

■ - ;• 1© The Trend of Political Criticism . . 7 A ' The 0 ostumbri sta - TrendThe Ouadro de Qostumbres . .. .. 1 2 3 o The Tradiclon and the Ouento % l i t a r ' 17 4© The TJ.rbs^n Haturali at Trend . . 28

III© . Short Story Trends Beginning Between 1900-1935 3.2

I© Introduction. 32 2© The Pure Social Trend (of Naturalist Influence.). . V 3 8 ■ 'V'The..-Imaginatly:©,..Trend::. ' 5 5 r ::'4o.. The'Rural Trend .. . . 63 '5o The .Rural Story -<= First. Epoch 67 6 0 The Rural Story — Second'Epoch 78 . . 7 © The . Rural. Story. ~ Third Epoch 96

IVo The dontemporary Period . - . 3 ' 108

1 © Introduction : ' . , . 1 0 8 2© 0 ontemno rarr Tradiclonallsmo - 109 3o The Modern ..duento. Mllltar • 109 ■ 4® The Urbano=Realist Trend ' ,110' 5® Modern First-Phase Rural!sm . 112 6 y Modern Second.=*Phase Rural! sin 113 . 'To Modern.. Third-Phase .Euralism 117 8 ® The ..Social, Trend / .119 3 9 ° The Psycho-Imaginative Trends . -, 121 10 o. The Surrealist Trend - 131

Vo- Conclusion 136

Notes:3 \ : 3 : ... • > 33 3 ' 3 3 3 .;; .; 3;,--' 3.40

Bibliography Oeneral . 153 Bibliography =« Source Material 158 ^ ' Chapter I’

■ • INTRODUCTION

The purpose of this thesis is to present art analysis of the trends in the Chilean short story,,- from 11 s beginnings around 1842 to the present day 0

In the past 9 a considerable number of critics have discussed the novel and the poetry of Chile| and well they might,, as both are rich fields0 Among the;greatest Latin

American novels are some by Chilean authors (such works, for example, as Durante la Reconcjui sta 9 Los Traspl ant ado s Q

Martin Rivasn Casa Grande^ 21 Socio 0 El Hermano Asnofl 21

Rotoo etc o)e ,Chilean poetry -w with Its origins in La Araucana of Alonso de Ercilla y Zuniga and more'particularly in 21

Arauco DomadOo by Pedro de Oha has recently gained world­ wide recognition through the works of Gabriela Mistral and

Pablo Nerudao . :

- It is only natural that the Chilean cuento9 overshadowed by the national novel and poetry, has received little atten- tlon 0 Certain cuentistas, such as Baldomero Lillo, Mariano

Latorre and Manuel Rojas have, it is true9 gained consider­ able popularity outside their native lands The vast majority of the other short story writers j however, have been unknown, for the most part,, by no n-Chile an s 0 This situation is unfor­ tunate,, as there are a number of lesser-knovm, cuentistas whose ■works possess considerable ‘.merit = The Chilean cuento

■ as a wholej, howeverj ought not to be Ignored to the extent

It has been by foreigners»

Previous to the date of this writingg several critics

have attempted to discuss the Chilean short storywith

.varying resultso Three such works stand out particularly?

Mariano Latorre 8s critical introduction to his anthology of

the Chilean cuento Domingo Melf1 'Demarco8 s Estudios de la

hiteratura Chilena (Prlmera Serie)92 and Raul Silva Castro1s .

. • . - 3 • introduction to his anthology of. Chilean cuentistaso

Mariano•Latorre (in the work cited, which; incidentally§

was. revised and incorporated into his history of Chilean

literature'^) attempts to identifys in outline form,, the

various trends in the ouentop . Unfortunately, the author

either was poorly acquainted with some of the material or

careless in his writing, as a large number of minor dis=*

qrepanoi.es and errors occur® Fortunately, many of the errors

were corrected when the revised version appearedg but a goodly

number can be noted in both works® As examples of careless­

ness on Latorre*s part, in both versions can be found some

improper dates (since so few are given anyway,, this consti-y

tutes a serious fault), wrong or misspelled titles (eog 0s

Parvas Violas for Parras Tle.jas; and Cuentos de la Alcoba„

where the definite article should be omitted)Q In addition,

the chronology is often confused, and, perhaps worst of all,

some novels are included as collections of short stories (for ^ ■ ' examples Faralelo 53 SurQ by Jtian Marin and the Reina de -

Rapa Hui^ \ of Pedro Prado)® F.ortunately? however5 Latorre8s main points are soundd as no other critic violently;disagrees with his system of class!floation# and as the stories them- . selves usually bear out what he' says« ,

Domingo Melfi Demarco devotes the major part of his critical studies to the rural short .storya together with the

(Generation of 900#., Although his work does not contain foot­ notes nor a!bibliography@ his observations on the actual stories are as a rule suhstantlated by the cuentos themselves,

To judge from the bibliographies and footnotes of later writers concerned•with the same subject# MeIfi provides the most popular9 if not the: best 8 soureet One author^; it . might be mentioned9 even goes to the extent of incorporating verbatim whole Sections of Melfi?s work into M s own — with­ out the nicety of suitable acknowledgement

Radi Bilva Castro betrays his academic nature in the introduction to his anthology9. Los Ouentlstas Qhilenosi

Latorre has traced the.development of the cuento through dis­ cussion of its trends; now 9 , Silva Castro discusses it from ' a purely chronological aspect® The study is very well docu­ ment ed@ and an excellent bibliography of the Chilean cuento is appendedo Unfortunately^ the author8s decision to discuss

("&) This titleg as given by Latorre9 is incorrect and should beg; Lh Reina de Rapa-Mule:. . . the major works in the order in which they appeared leads to

a certain, amount of confusion on the reader^s part; especially

if he is attempting to group the collections "by type6 While

.not as vahiahle as i*atorre*Sa for e x a m p l e R a u l Silva Castro -s

analysis of the short story does provide some excellent

critical material for use when discussing trends in the

Chilean short story0 . I n ,one particular aspect all of the critics mentioned are

uhsatisfaetoryo. Since their respective works were all pub®

1 1 Shed prior to 1940g, none of these men presents a thorough

discussion either in regard to trends or individual col=

' lections of the m o d e m cuentOo,- This gap is partially

filled "by a more recent; work, Hicomedes Guzman8s anthology

with, its corresponding introductlono^ Another "book which

has been particularly helpful is that by Francisco Santanag7

which presents individual critical studies of the major con#

temporary cuentlstaSo together with valuable biographical

dat a o The .aim of this thesis is not primarily a critical one&

and. for this reason little discussion Will be found of the

comparative Values of the short stories or of their authors^:'

This thesis intends to analyze the various trends taken by the

short story of Chile during its existence as a genre© The

method followed to achieve this purpose is fairly simple,3

andg with slight alterations in various sections8 remains

constant throughout this worko Taking the trends noted by : : . . : .5 Latorre (in the work cited previously) the author has attempted, first of all 5 to establish their existence; secondlyp, to pre= sent a picture of their form (ioee?, their individual charac^ teristies)j and finallys.to introduce into the discussion of each trend enough examples from specific cuentos to show con­ cretely the nature of the trend. For obvious reasons it would be impossible to discuss each and every short storygi showing to which trend it belongs® An attempt has been made to present those examples which most clearly identify an individual tendency in the Chilean short story®.

Chapter II:: deals with the short story trends beginning before 1900 tracing • them up to the middle 1930®s I n Chap-* ter III will be found all major trends initiated during the period 1900«1935t- ' . ■

In Chapter IV^ the procedure will.be modified somewhatt

All of the tendencies existing in the Chilean cuento during the modern period ^(i‘=>e,g. 1935-1954) will be presented singly®

In addition to those authors properly belonging to this period will be mentioned such cuentistas as demonstrate a change in style (compared to their; previous works eogop,. ■

Marta Bnmet) and those whose stories -r. to. their majority -= fall Within contemporary limits (Manuel Rojasj, for example

This.change has been,made in order that the complete pano- ■ rama of trends in the contemporary Chilean short story may be more easily observed,

Hot all of the Chilean short stories can he classified : ■ ■ ' ' ■ , : v 6 under one definite division or another0 The trends discussed in this thesis^ while not necessarily the only ones in the

Chilean cuentos are the most Important8 either for quantity^; q u a l i t y o r both* ; : ’ ' ■ Chapter II:

SHORT STORY TRENDS BEGIMINC- BEFORE 1900

lo . THE TREND OF POLITICAL CRITICISM 1 . - -

Chronologicallys Jpsi Vlctorino Lastarria (1817-1888) may he regarded as the first -cueptista In Chilean lit era- ;.r

1 / ' ' ; ture» His fame, howeverj does not rest mainly upon his short stories, but upon his role in the history of Chilet

Together with the Venezuelan Andres Bello.and the.Argent tin!an Domingo Faustino Sarmiento, the Chilean Lastarria; forms what is known as the- Oenerat 1 on of 18420 This genera­ tion is noted for several •faetors a: it introduced Romanticism into.the life of Chile, .influenced education,. and was active .- in criticism of the existing Chilean political situation#

There is one point of interest regarding this generation which must not be overlooked . it was not an integral unit© There was no unifying spirit of coherence among its memberso Personal-rivalries and' differences of opinion ' - . ' • v : ' o ■ ‘ led to numerous polemics during this periode The three principal figures of the generation split into two decided groups, Bello,, on the One hand, opposed to Sarmionto and

Lastarria on the others .In the press and on the platform t h e ‘views, of both sides were expounded=

Lastarria, according to Alegria,^ !,se alza en el panorama, literario chileno del siglo XIX como el mejor sirnbolo de-esa .

7 • . - - ; 8 revoluclon Inteleetual E ic eQ P Romanticism j cuyo ambi:to9 indudablemente sobrepasa los limites del ano l842o" He typifies9 in his beliefs and actionss the American romantic revolutionary (such as Bolivar,, Sah Martin, etc-*).©.

The most concise statement of Lastarria8 s views on literature is to be found in his speech upon the occasion of his inauguration into the Socledad Literaria (May 3S 1842)®

In this discourse, Lastarria outlines the seven points which form M s literary manifesto '

. I ® Literature has a social function®

2 0 Ghilean literature must be oriented in regard to its future (i0 e®, its literature must he V . adapted to express national characteristics) Q

3® ' . Ghilean'literature must not be modelled upon that of Spain® y 1

•-1- - 4®-: The Spanish language should be retajned3 in ^ preference to any others

5o . French literature should serve, as the new model for that of Chile0

6 o Ghilean literature ought to he the express sion of Ghilean nationality (i® eG 9 by preserving that which iS; fundamentally Chilean •—> ideas, character!sties, etc®).®

7o Finally, the salient characteristics of the new literature shall h e r -

a 0 , “el culto de la natura,leza0"

... h® regionalismi -

. c.o Ghristianity® ;

d® originalityo

As can h e 'readily ohserved, the element of revolution is fundamental:.in this manifestos revolution against that which ' ... 9 is Spanish (ssve language) in favor of that which is either

French or national (Ghllean) 0 .

It is not unnatural for a person so radical in his be­

liefs as is bastarrla to reiterate them in his writings©

It should9 therefore9 come as no surprise to find that

Lastarria’s literary production reflects his revolutionary

and romantic sentiments— even as concerns his cuentos 0

or rather9 those portions of his literary work which ap­

proach the short story form© FI Manuscrito del Diablo (1845)

is perhaps the best-known work of Lastarria which can be

classified as a cusnfoe Flots in this storyP Is negligible§

the.thread of the narrative being the adventures of a devil­

ish critic strolling through Chile,, observing and commenting©

Divided into four sections and an introduction^ the Manuscrito.

del Diablo treats of two basic aspects of Chile i: geography

and society o', .'f lie' relation of the Manus crito to Lastarria * s

manifesto of 1842 (see Tao above) can be observed.in the fol-

.lowing quotation on geography

o ^ 0 el chileno que puede mirar de cerea a su ■ pals #n estas horas no ve nadap tlene ojos oomo todos los hombres y no ve con ellos lo que le rodea, tiene ore3 as s pero son sordas a^lo.s ruidos de la naturalsza? s8 lo las usa para oir lo gue le interesaf tiene corazong sin duda, aunque tpdavia no se si haya heeh© alguna autopsia para verificar este hechoe ■> t Basta ver una colinaji una montana9 para eonoeerlas todase El que busque la variedad o los caprichos de* la naturalsza,. tiene ^ que miraria, a la. luz del crepuaculOs del alba o al resplandecer del sol en su ocaso?' entonces se ven las sombras profundasg Ids tintes varies y contrapuestos9 i.os caprichosos perfiles de la montana y la majestad misteriosa de las selvaao ^ “El Msnuscrito del Diablolj / ' - ' - . ' ' 1 0 In discussing Chilean societya there is no aspect of

it which Lastarria does not severely criticize<,; • One of his •most vigorous denunc i ati ons s ho we ve r s is in regard to the

political situation of the times^

o » o el primer protector de . to do S' es el g o M e m o , con la diferencia que no protege para ganar,.sirid para que ganen los mSs poderosos a costa de los mas flacos» Protege a los comeroiantes extranjeros9 d&ndoles todas las faci1idades posihies9 para que ellos hagan su protecciSn con los com ere i ant e s po r , menor; protege a los ricos mineross a los acaudalados agri cult ores,, d^ndoles Influencia en los negocioss haciIndoles senadores para que ellos contrihuyan en cuanto esta de su parte a. mantener este estado de cosasg que tantos provechos les reporta»; Asl. el gohiemo que deb i era ser el azote del ego is mo $, es el primero en protegerloo o.o

• ■ Manuscrito del Diablo .

. Lastarria puts some" of his proposals into practice -

in the long story "21 Mendigol'" Utilizing as a plot an

old beggar's narration of his life9 the author takes us

on a guided tour of Chile9 through its society and geo-

graphy0 Again the critic appears g rather than the cuentista,

although Lastarria follows the principles outlined in his

.manifesto 0

In one storyg.: partioularlyp Jose Victor!no Lastarria

presents some bitter political satire? Don Guillermoo Again

the author constructs a picture of Chile --political this

. time — around the minutest thread of a plot» According to

Latorre^ “la narracion entera no es sino una alegoria

politicas enconada y pobre para atacar al gobiemo de Mohtt,"

The- first trend in the; short story of Chiles then, • is really that of political criticism's the main figure il<=

lust rating this tendency "being the initiator of the cuento •

. . ... ■■ ' ^ t ' : ' ' • ; : .. .. ■ v - :: : itself9- Jose Victorino Lastarrla.o .His followers are few9 -

with only one standing out in quantity, of production, i

Daniel Barros G-rez (1834-1904): carries on this tradition of

sharp criticism initiated by Lastarria0 In Cuentos para Ninos

GrandeSo Barros Grez attacks the political institutions of

Ohile almost entirely, 11 Mi Carta es la de Mejor Suerte.I

V y * : - o Los 3doles Politicos illustrates the none-too?-subtle de­

vices Barros Grez makes use of. to present his views, . He

describes a card games whose players begin to fight over

whose card is bestp Phe stoi^r; is an allegory9 as the author

points out in the:boncludihg lines

- ■ , ' " ■ : ^ ^ • '■ ' ' : '' " ■■■■■ . Yo pondria aqul la moral de este cuentog pero : no,'quiero malquistar#e con los jefes politicos9 por los cuales ciertas gentes son tan. fanatic as P :comb un jugador:de mala ley puede serlo por.una sota o un caballOg aun despues de perder cien voces 9 ; apuntando . a estas cartas0 .Dir$’as entre otras cosas9 este indigno fanatismo es el que ^conduce a^los incautos ciudadahos a la decepeion9 a la perdidas a la mlseria9 a la desesperaciSn y a la rflatanza9 manifestandOp por ^ItimOp que para no sufrir crueles .desenganos'de parte de las personas9 no queda mas . recurso que ser partidarlb ide los^buenos prinel- pios, que no saben traicionar jamas — todo esto y muoho mas dirlai pero mas vale cellars: - no sea que. me tomen entre ojos los jefes de partidOo

’ ‘ I Mi ; Carta es ; la de Mejor- Suerte!.^

Throughout all of Barros Grez8s stories, this use of alle-

, gory in satire of political institutions or individuals' is

predominanto "[Barros Grezg Ho olvida un punto que se ha

propuesto un fin politico y hace servir a su intento. cada una &@ las fabulas que narra0 Pero si haoemos abstracGlon

&e la moraleja polltiea9 en. la cual por lo coinun no consigue

otra oosa .que guitar el velo a su simbolo (con lo qne :lo

destruye como tal slnilDolo) 9 tendremos que eonfesar que nos

hallamos ante un buen narrador0

After Barros Q-rez, no cuentista of any prominence, em­

ploys a similar styleGriticism of institutions g it must

"be recognized,, occurs at timesa but never with the bitter

attitude of Lastarria and Grez0

Baldomero LillOs about whom we shall hear more later9

does not criticize so much as propagandize^ He is different

frbm Lastarria' and. Ba,rros Grez in that his scope is narrower*

In describing, the mines of Chiles Llllo is treating of

something which is hear to him* In '.additions Llllog like

other 0hilean cuenfistas with sociological leaningsg rarely

attacks politics© The later sociologists are primarily con­

cerned with real economic evilSg while Lastarria and Barros

Grez prefer to discuss literature on the one hand and poli­

tics on the other©: In the commonly accepted sense of the

termg the authors discussed in this section cannot be classed

as sociological*

2 0 THE COST GMBRI ST A TREHB — THE GUADRO DE GOSTIMBRESs;

In any discussion of the cnento. in Chile * it is praeti-

:oally obligatory to mention the cuadro de costumbres, as

the two are closely interrelatedo

At the time when Lastarria was, writing his Manuscrito \ ' • 13 clel Diablo and goH: GMllenno-o. the cuadro de cost Timbres was

gaining popularity among Chilean authors0: Actually9,. the ..

prime difference between these brief pictures of customs :

and the short story is that the latter has a recognlzable ■

plota■.The short story in Chile has indisputably its origin .

in the cuadro de costurabreso In Spaing a,t this timeg the

cuadro na.s in vogue (witness Larra and Mesonero Eornanosg

the great costumbristas) 9 while the modern cuento was still

in its infancyo• This holds true in Chile also*

. - The first cos tumbri st a worty- of not e in Chile was -

Don Jose Joaquin Vallejo (l8il»l858)s who under the pseudo­

nym of Jbtabechej despite his short life published a remark- .

able number of cuadros or articulos de costumbreso He was

a member of the Generation of 1842g but neither an actIts •

nor important one-, Valle jo s a native of 0opiap6 (capital

:of;-the province of Atacama)s: preferred his native town to -

SantiagOo While at home* he describes the life of Copiapo

and itsypeoples presenting brief pictures of the nearby

mines and of his native regiono ' In Santiagos,:.-however9

Vallejo is the politician? ;a,nd his literary productions .

are tinged with the same type of satire shown in the works

of Lastarria and Barros Crez9 although he is never as bitter0

Jotabeche (his pseudonym was supposedly■derived from

the initials of the popular contemporary Argentine satiristr

Juan Bautista Chenau)^ was an opponent of both Saraiento

• 1.1 - - • and Lastarrial He resented the Romantic spirit which at v - •• ■ , ■ - ' ' ' V r ■ - ' ' ' 14 that time was invading Chile s and- what it stood for, >!=>

though he did not bitterly and. violently attack it0-^ :

"dotahecheg viejo mineno tan allusion to the mines of

Gopiapo^g descubrio las posibilldades literarias del rico ,

fiIon 0 0 stumbrista0 fl,^ His contribution to it was a keen

sense, of ironjp not .acrid In the manner of Barros G-rezs

for exampleg but rather^ "la ironla inocente y jovial do un alma buena 9 en paz coil el mundo y con la prop!a

con.cieneia9 y exenta de peligrosas pasiones y de mortifieantes

dudasoThe following passage is typical of many in Jota- beche/ and illustrates his style0 - Rather than merely

describing^ Vallejo prefers to add a note of warmth to M s cuadrosp: His comments are often humorous

Hablando francamente g el estado matrimonial no . - a . : . carece de nada para lo que hacemin martiriol pero tamblen tien© deliciaSg que jamas probara (j atehded ' v : bien a esto9 solterones calaveras!)9 que jamas probara, digOp qulen no entregue la cerviz al santo yugof

£ ^rticulo Que, No Me Gbmpromete Gon Alma Tiviente1'^

. The Chilean short, story in the second half of the nineteenth century evolves from the oradros of Vallejo^

rather than from the works of Lastarria:9-*-^ The reason is

patent, for the limited tendency (discussed in the preceding

section) which was initiated by Lastarrla is not one likely

to have; many; adherents0 / ' / /.

After Jotabeche come many costumbristas9 primarily

Tlcente Perez Rosales (180^-1886)/ Recuerdos del Pasador

Alberto Blest .G-ana (1831-1920) s from whose novels (such as ' ■ • .. 15 Durante la Reconqul sta) many cuadros can "be extracted without damaging plot-continuity!^ Pedro Ruiz Aldea^ popularly known as the "Jotabeche del 8 ur " (1830«=18T0)!’ and Adolfo Valderrama (1834=1902) ri De spuds de la Tare a

(portionsIv. In the twentieth centurya, one figure especially stands out among those who cultivate costumhrismoQ. that of

Manuel- Jesus Ortiz Espinosa ^pen^name s; M 0 J> Ortegaj?

Oaricaturas (1916) <, Part as de la Aldea (1921) and Relatos

Y Oomentarios (1935)o The writings of Jotabeche and Ruiz Aldea are very similarp each descri'bing his own native region^ although the latter1 s merits, are not so great as are those of Valle jo 0

In certain characteristics 9 however^, he excels ; - 1,1 Ho re suit a fuera de limitss adelantar que en la correeeion y mayor liyianura. del .estllop Ruiz Aldea aventaja sohradamente al maestrog que en no pocas oc.asiones. se muestra lento y pesadOo1“IS

Typical of Ruiz Aldea 1 s production is the "brief sketch entitled '^Un Baile de Suscripciono11 Deciding that a dance should he held In their native city of Los Angeles5 the author and some of his friends attempt to obtain subscribers»

The following Is typical of the reactions which they encounter

^Benorp pasabamos a vernos eon usted para un baile que piensa darse en los dlas del 1 8 *

— onmvigo j senor? contestaba 6l muy admirado— g pues le agradezco a u-Sted ;much®a Ire sefior* Gonque 0,, Itan Inego se anda convidando?: ' . •

-^Ho senorp es para la suscripcion solamente— = y '■ : ' is 8® pasaba la llsta* , .

A- la palabra suscripclon hacla el tm. gesto1 &@ extraneza j repella el p&pely . : ' %

^ =,=S@nor9 slento ametio qse: ustedes se molestea por mlj porque probablemente yo no estare para @ 1 18'0

. E1,Un Bail© d© Susorlpeloii1^

Heedless to saj^ perhapss the dance did not take place 0 :

.Preceedlng to the comparatively-modern $Sq J o Ortegas we ohserve that the cuadro de costumhres has not yet lost

Its charm0 ' Go Silva ITildaaolag® in reference to Ortega"s

Cartas de la. Aide a 0 says that 2 Mts. aide a de Ortiz tiene " belle■zas. '.jf tlen© fealdades; tiene tlpos de: encantadora ;:i ingenuidad y sordidos y embusterospersonajes| tiene ino^ eencias idilicas y tiene maldades de pueblo chico0■ Is la aide a viva y verdaderaP sin ateruadlones en las sombrasg , .■ ni exageraclones en los colores risuenost Pero todo ha

. ' ■ ^ ' sido visto a traves de un temperamento sereno y nobilisimos en el cual no hay una gota de hiel9 ni un recuerdo amargOg,. ni unO:de esos sedimentos de mal sabor que los aluviones del dolor y de los desencantos dejan en almas mas debiles ©18

One of the ’’cartas11 in particular^ !1Los : Preeeptoress 11 is a rather interesting and humorous discussion of the trials : \ of a married school-teacher who earns fifty dollars a month and spends |63oT0 5^

:; De aqui resulta que mi mufer esta anemica; mis hijds pobres de sangre, y yos vamosg con toda la ropas es decirs con mi unico y venerable, terno demasiado : holgado para ml cuerpOo . : - : [ "lios Precept ores ■' ■ ' ■ 17 ' The importance of the cttadro de costnmbres as an ante™

• cedent • of" the cnento is immense, serving, as it does, to

give to the short story both form and direction. One of

the basic charact.erlsties- of costnmbrismo is regionalism,

and, as we shall see later, one of the most important trends -

in the Chilean cnento is in part a result of the influence

: of the costumbrlstas (the reference here is to the rural

trend, especially the second and third epochs) 0 Aside from

: regipnalism, moreover, the cuadro de costnmbres is funda­

mentally nationalistic0 : Thus, several of Lastarri.a8s pro­

posals (specifically, numbers 2 and 6 — supra) have been

carried out by the various Chilean.; costumbrlstas 0 During ■

later development of the cuentoQ and especially in the works

of the Generation of 900, nationalism becomes trulyrlmpor-

. t.ant , . as motivation and inspiration# c - ''

3 c THE TRADIClOH AND THE CUEITQ. MIhlTAR g:

There are two very closely related trends in the

Chilean short story of the later nineteenth centuryi: the

tradioion and the cuento. mllitaro. Their relationship is

owing to the fact that both utilize actual history,. A

co-initiator (together with Miguel Luis Amimategui) of the

tradicion, and the originator of the military tale is Daniel

Hiquelme ■(1857-1912),. He has had many followers, especially

in the cuento military which, in the words of Pedro C r u z ,22

forms one of three basic classifications into which the ' ■ " ' : , ' ' ' ^ m Chilean short story may he divided;;*

The tradioion has been hut slightly cultivated in

Chile'o Lacking a man of the stature of Ricardo Palma to

.give it a real start and carry it alongs the historical

cuento did not survive, save in a few instances6., The

tradioion implies a hackward^ldoking state of mind in its

author^ and very few nineteenth century Chilean cuentistas were interested In the past 0' .The present and future weres

and are, more vital and of greater significance to the

Chilean*- This attitude is readily explicable,, if we ob­

serve the state of Chile around 1860=1870^ Under the im#

petus provided by Lastarria and Uotabeche9 Chilean liter®

ature had as its aim the exploration of all aspects of

Chilean nationalism^, with subsequent use of these aspects - , as subject matter, whereas the tradicion in Chile implies

a return to that part of its history embraced by Spanish

dominanceP i 0 e a,- before the Revolutions - -In addition,;

Lastarria had preached against the use of anything Spanish

save language * -It was not to be expe c t ed 9 the ref o re g that

a short story style which —= as commonly occurs in the

tradicion -= would tend to glorify that, against which the

Chileans had recently fought would be popular*

The few cuentistas who did cultivate the historical

short story in Chile were Daniel Riquelme, Miguel Luis

(^) The other two groups are the cuento campesino and .social^ - ...... ' . - : • ■ Amtmategui and, Shrique del Solar in tlie nineteenths to= gether with Joaquin Diaz G-arces and Aurelio Diaz Meza in thevtwentieth century^ - . ; ‘ •

.During- the youth of Daniel Riquelmeg a great change was taking place in Ohiles especially in Santiagoh -The ■ old mode of lifes inherited from the period of Spanish dominance<, was breaking up*. .In. its places as a result of nationalism and the anti=Spanish sentiments then current, there was being established a new type of societys primarily . based upon that of France0.. In Sa,ntiagos part 1 cularlyg this cultural revolution was in eiridenc©o The arts, (primarily

■ : V : : \ / u . ; : ■ ' ■■ music 9 in the form of the opera) were exceedingly popular®

All that which was French was de rigeurs styles g mannerisms s literature9. etcw Santiago was also striving to mold the provinces to its new modus vlvendi w It must be real! zed9 however9 that these changes were, occurring in the upper social strata; the lower classes were left far behindo'^ .

Riquelme j, witnessing:' this Fur ope ani z ati on of colonial

Santiagos was. saddened by. it* 1 An extreme conservative to • the day of hi s deaths Riquelme fought with his pen and voice against this; cultural turnover® .His reactions ■(as.far as. his cuentos are concerned) are best seen in the collection

Kvocaclones de Santiago® which Riquelme' published under the'pseudonym of Inocencio Conchalit Using personal remem­ brances , and drawing from the works of Benjamin Vicuna

Maekenna9 Vicente Perez Rosales9 Jose Zapiola and the early 20 ■ ■ ,, v ■ ■ ■ ' - - cronistaso Tenia Riquelme el don de hacer vivir al pasados este pa,sado casero j plntorescog seguri su expresions*

The entire, attitude of Inocerroior Oonohali as a tradlcionlsta ean he summed up by the following paragraph^ taken from one of his "evocaciones .

MS,s. practico y mas yanqui es, sin duda, el ■ fabrics-r humo de pez y betCin de calzado eon log huesos de los difuntoss .pero yo habria hecho con mi calle de la Merced, lo- miSmo que el feliz - ^ millohario a ©star en mis posibles y no en. la region .de mis fantasias0 Habriala conservado come un retablo del tiempo viejos enclairado en el centro de la eiiidad que se transform a, y hoy: eont emplari a9 a la luz del sol, lo que solo me es dado ver en el fondo de mi memo ri a, e.uando oierro los ojosy sue no », 0 *

g “Mi GalleMj.

Miguel Luis Amunategui (1828-1888) 9 according to at least one critic«^ is like.the Peruvian Ricardo Raima in that 1 ^Ambos escritores „ e „ siguen la historia con mas

.0 menos felicld.adofl Unfortunately^ both of Amunategui8 s collections Uarraclones Historicas (1876) and Ouadros

i (1 8 9 6 ) have not been available to m e 0 Ehrique del Solar has written one collection (in two pantsg 1875 and 1881) of tradiclones0 This work<, Leyendas

V Tradiclones, follows Ricardo Ralma^e demand for alRo y aun algos de mentira0 as is made clear by the author in his introduction when he says that these legends and traditions

“no se present an como una obr§, hi st orica g' . aunque no hay una sola de ellas cumo argumento no sea tornado de la .historia o de- t radi clones mas o usenos cono cidas de nuestra sociedad .

' In the twentieth''century g Joaquin Diaz ..G-arces (1878-1921 ) s ■■ 21 in a few of his storiess evokes the early life of Santiagoe

Hi, la Somhra de la Horca" is an interesting picture of the

same Santiago described by Rlquelme in his narratives®

Shortly after Diaz Gances^ Aurelio Diaz Eeza (188C?=1932)

appearso ,He Is, perhaps, the last major tradicionista. before the contemporary period® . Posei'a Diaz Meza el don

ereador y hasta la gracia indispensable para'revivir el

pas ado chile no® e 0 0 Gronicas de la Oonqulsta, the

title of his most important eollectionp is indicative of

its subject mattero

We .have seen that the- tradlcioh is characterized by

a return to the past history of Chile for subject matter®

'"fhings were better in the old days, 'T is a sentiment' char­

acteristic of this trendo

Appearing as a concomitant form with the tradieion is

the cuento milltafo It might be classified as an aspect. .,

of the former were it not for t w o .factorss its integral

importance in Chilean literatures and the fact that the

cuento militar® in its beginnings9 was more cdncemed with

the immediate present0 Many Chilean cuentistas have culti­

vated the military tale9 with varying success® -

In order for there to be a military tale 9 .it is

practically obligatory that a war take place (open, or other­

wise )e Mere armed mobilization^ while it could provide

inspiration^ would not tend to make stories describing it

of as interesting a nature as stories based upon a real

war® In Chile 9 the cuento milltar was a direct product of the War of the Pacifice The conflict was an Immediate resnlt of Chile 8 a first great economic crisisP during the governments of Federico Errazuriz Zanartu and his successor,,

Anlhal Pintoo The mainstay of the Chilean economy Was nitrate production, a-nd the first intimations of Impending disaster hegan with a dispute hetween Chile and Bolivia over the rich nitrate deposits ■•in thd Atacama region* At that timea although being exploited by Chilean enterprise s the salltreras were on Bolivian soil* Bolivia was backed in the altercation by Peru 0 Nothing of a, concrete nature

■Was • accomplished, however^ until General Hilaribn Daza took over the .government of Bolivia^ in l878a ■ That same year3

Daza increased taxes upon Chilean residents of the Atacama regiono The result of this was the capture by Chilean insurgents of Bolivia8 s only major port9 Antofagasta5, in .

February'of 1879o The allies„ Peru and Bolivia^ immediate­ ly declared war; on their aggressor^ Chiles in April of that year* The c o n f l i c t i t aeemeds, was unequal from: the start s' the Chilean.army of a bare 2sb00. men struggling against the combined force#, of Peru and BoTivlay totalling over 1 1 gOOO soldiers 0 "Nevertheless^': the War of the Paci-=> flo 9 as this armed conflict was■called^ was from the first favorable to Chi letS! ? Bolivia was faced with the obstacle of transporting its troops over the Andes 9 while..sentiment was none too strong in Peru* Chile 9 on the other hand, had little diffl.culty . lnvbringing its troops to the. scene; of battleg and, in additiong. its morale was very high* The 23 people, were confident that 5 despite the oddss they would

•win and win they did> eventually overcoming ?eru and

occuP3rIhg Its capitals As a result of the conflictp, Chile

gained complete control: over its main source of Income9 and

Bolivia lost its only access to the oeean*-^

The high spirits running in Chile during the. War of

the Bacific were largely responsible for the formation of

; the cuento. military "Como en la Independeneia5 el pais entero

fue a la guerra0 Pueblos clase media y aristoeraclao

The Chilean people were united by a common bond,, for the

second^ 'and'perhaps the 'las't9 time in their history^.; It was

only natural p the re fore a that someone who was not actively

taking part in the battles should want to hear of them.

The press kept the people informed, to be sure ^ but a news™

paper is unromantic0 The story of life on the battle-front

offered more human interest, and many persons began to

write semi“f1 etionalized accounts of the soldiers and their

iifeo The first of these writers was Daniel Riquelme,, in

so far as the'cuento was concerned0 Both Lastarria and •

Jbtabeche touched, briefly, on military events in their works 9 but-not in their short, storiese Slightly later,

although still in relation to the War of the Pacific,. Ortiz

: Olavarrieta, Marcial Cabrera Cuerra,, Rbbertb ilarcon Lobos.^

Angel Custodio Espejo and Juan Manuel Rodriguez began to

write cuento s mi lit are sp A continuer of this trend is

Olegario Lazo Baeza? who will be discussed in connection with the con tempo razy short story o

Datiiel■Hiquelmes at the time of the outbreak of the war with Peru and Bolliria9. was a:- journalist working for ■.

El HeraMOg. In Yalparalso0 . Sent by his newspaper to the front as a war oorrespondents Rlquelme was able to study the conflict at first hand/ to know the men who took part

In It and observe their actions and reactions© One effect ; - of this trip on the young Inocencio Odnchall wass in the words of Latorrep^ that “Su chilenidad se had acentuado aun mas 9 porque ha visto a su raza en acclon, en un campo diverso al de todos los dias©"inspired by what he saw,

Rlquelme returned to Valparaiso and began to write short narrativesg fictional or factual^ describing the war© Thus came into being the cuento milltar In Chilean literature©

These short storiesp for such they werep covered a multi* tude of topics related to the War of the Pacific©. They' were published separately at first9 and then collected^ forming several volumesg the most important of which are

Phasearlllos Milltares (1885) and Balo la Tiendas Recuerdos de 3^ Oampaha (1885)© While containing many of the works appearing in the first© -Ba.jo la Tienda also has some original stories©

The topics treated by Rlquelme are innumerable| cer­ tainly any incident which he observed could provide the possible motivation for a cuentdt.. Some of the stories are removed from any specific setting*. and could have happened in any war anywheres "El Desert or,, " for example© Generally,, . • 2 5 the stories are more speciflo lia referenceg however0 The

entire panorama of the Chilean race was represented in its.

soldiers, recruits being drawn from all classesQ Consequently9

Riquelme. was in a position such as was enjoyed by no cuentista

before himir he could observe all social types grouped

on a common ground0 As a result of this, Inoceneio Conehall

!,conoce al pueblo chile no en los aspect os mas vivos y : .

solapadOp astutep sobrio en la expresiSn de sus sentimle.ntos,

dlcharachero y amigo de la justicia0!l^^ "Riquelme ve

pro fundament e la psicologla del hijo de su tierra natals

y no solo la ve con claridad sino que >s sobradamente.

capaz de refle j aria con profundidad y gracia* .

In some of Daniel Riquelme8 s stories a touch of humor

is evidento "Pelear con la G-entes 11. concerning the United

States intervention in the- War of the Pacific, contains

arather amusing incidenta Two men,, a Mr, Hurbult and a

Mrc Trescottd were sent to represent the United States during the post-war conferenqes in. Limao l&i,fortunately,,, Mr. Hurbult

died en route 0 Riquelme, in Lima at that time, describes the

funeral of the deceased:dignitary

Sus funerales fueron una esplendida "manifestacion d.el dp, el o' de la sociedad limena'e . IMa seKorita que veia pasarel funebre cortejOp se desmayo patriSticamente en muestra de ese dolor publico, y durahte la marcha le sustrajeron a Mr„ Trescottp el reloj, que resuit6 ser una prenda de gran estima y hasta recuerdo de familia0

: : : f "Pelear con la G-ente"^ - ■ > ■ . ■ : ■ .> ss: - Hot S.ways s howevers was Inocencio Gonohali the onlooker with a sense of - humore At times9 his writings express groat

patriotic sentiment6 A typical example of this is to he

f ound in ’’la Bat alia de 8 Lo s Futres s»,#36

Las haterias |,ue hahian pasado a retaguardia9 eolo- cadas en.punto mas ventajoso, disparahan por andanadas descargas tan repetidas y parejas que apenas si m tiro desdecla de los otros®

. En los montes gue cerraban al campo por la derechap repercutlan con igual violencia los - - disparos d© las otras seecioneSo Y en el mar,, los buques de la Escuadrag que deade lo alto de la barranca se diyisAhsm como grandes conchas de tortugas carcomlan con sus terribles bombas el terrene que ocupaban los contrariose •• ; .

Y .aquel fragorose estruendo9 retumbandg en los • ■ cielos, multiplicado por los ecos P devolvia la fe a los corazones y uno s© decia en lo profundo del alma I

■' ""iGhiles no puede ser vencido! 1

V ■ . ^"La Batalla de 8Los Futres8 ” 3

"El Eerro del .Reglmiehto9 M one of Gonchaliss: best-»known

cuentoSr, shows an aspect of its author which is brought out in comparatively few of his works3 his tragic sensee While the majority of Riquelme8s cuentos militares have what could be called a happy endings this one does not® The plot is

rather simplei: a dogs beloved mascot of a regimentg is killed by the captain for fear that it might bark and warn the enemy

of the soldiers8 position,* The effect of this action upon the men is sensitively brought but by the author

■ V Y quien. haya criado un, perro y he oho de el tin companero y un amigo 9 comprende ri, s sin duda9 la lagrima que esta sencilla escena que yo cuento ^ :r: . '■ ■ . V 27 como puedo9 — =arranco a los "bravos del CoquimbOp a ©sos rotos de corazon- tan. ancho y duros como la : mole de piedra y "bronce que Iban a asaltarj pero .v cuyo fondo brllla con la lu.2 de las mas dnlces temnras muj©riles este rasgo caracterl stico §

Bu piadoso carlno a los animales0

g ME1 Perro del Regimientof,j

, Taking over where Riquelme left off is Angel Oustodio '

Espejo (1869"1930)o Although his cuentos milltares (of which several appear in Cuentos de Alcoha^1897) are few in numberp some of them are quite interesting and have brought ■ about his inclusion among the representatives of this trend#

"De Parada, *' the story of a d.ying veteran, illustrates two somewhat opposite aspects of Espejo!s style § sentimentality and irony# - In. his depiction of the veteran Retamales, Oustodio

Espejo is more than slightly sentimental* He exalts the mo­ bility of his character to an unreal extent0 The author8s

' sarcasm appears when he - has an undeserving man — - who never even saw a battle receive a medal for which Retamales has longedo While the crowds are cheering the "hero, 11 the poor veteran diese

Marcial Cabrera Guerra (1868-1909) — the owner of a rather symbolic name also shose to cultivate the cuento mill tar# . One of hi s stories (whi ch have never been collected.) 5

I!E1 Rifle, ".is the touching relation of Lopez, a soldier, who

'is inordinately fond of his rifle -<= so much so in fact, that when he is wounded he takes it to the-hospital with him# Upon being discharged, he tries to return to active duty? but is . not permitted to do so* In .addition, his rifle is taken away • : . ■ ; ' ' .28 from hlmo That w r y nights as he attempts to enter the "bar® racks; and steal his gun.,, he Is shot vard killed, by the sentry on dutyv ‘ . t

Neither Grtiz Olavarrieta nor Roberto Alarcon hobos adds anything new to the cuento militaro .

Around the beginning bf the twentieth century interest in the military tale began to -wane considerably^ as rurallsm became the dominant trend in the .Chilean short'story®. In more recent times, as we shall see* there has been a revival of. this type3. particularly in: the writings of Olegario Lazo

Baeza® .The importance of the trend represented by the cuento militar is considerable in. Chile * by comparison with many of the others® In the military short story*; for the first tlmes really*, in the history of the Chilean cuento0 the people- of -

Chile, are seen in action,?.' Its scope is not limited to a par™* ticular class * nor* as so f requently happens in. the cuadro : de costumbresg. is the cuento militar;. devoid of life or action

4 0 THE URBAN NATURALIST TREND:

Naturalism in the' Chilean cuento .was not the naturalism bf Zola® The French master proclaimed sclent if 1 e inte rest s. one of his primary aims being the study of hereditary influx enees® In his series"of novels on the Rongon-Macquart family

Bnile Zola portrays the effects of hereditary insanity and

alcoholism in what he believes to be a scientific manner*

The. influence of Zola was great in the Chilean novel between .1880 and 1920;* approximately* as the works of Joaquin ' . ■: ; ' 29 Edwards Bello (El Hoto<, • for example) and luis Orrego Luco

(Casa Grande) demonstrate^ • -The space limitations of the

short story9 howevers •preclude any “scientific11 examination^

save the most superficialo .Consequentlys those cuentjstas

influenced by French naturalism .concentrated their efforts

on other: aspects of ito g ' : - : _;-

Ih the urban Chilean cuento0 naturalism displays the -

following characteristics I: use of the city9 rather than the

countryg. for background, and description of the life and

actions, of people in the lower classes0 The novel in Chile

demonstrates these traits, with the addition of:scientific

pretensions o If one examines the Chilean naturalist cuento, one fact

becomes obvious I there are. relatively few of themo Most

Chilean authors preferred the freer form of the novel in

which to di splay the! r naturali st le anings » .Some novel lets 9

however, made use of the cuentOoi if only to a slight extent9

among them Edwards Bello ,’ , Orrego Luco and Eduardo- Barrio S o

Joaquin. Edwards Bello (br 1884) has written one collect

tion of naturalist stories, Cuentos de Todos Colores (1912),

none of which is particularly outstanding., " “Hay alii juvenil

desenfado, una manera • suelta, de escribir. e 9 fantasia, no

- siempre bien controlada, pero nada de lo que hace la

arquitectura del cuentoo .o 0 » M 38

Luis Orrego Luco (1866-?) and Angel Custodi'o Espejo

(1 8 6 9 ^1 9 3 0 ) are the initiators of the. trend in Chile in - :

. Baglnas American as (1892) and Cuentos de Alcoba (1897) ■ 30 respeetively0 Orrego Luco shows his affinity with naturalism when he• defines his Paginae as?> HLigeros apuntes cortados eh

la . earne. de la yida, M ‘.bringing to mind the '-tranche'de vie "

of the French naturalist theatre0 ."Dona Juanita" is typical

of Luco5s wor$cs9 describing the discovery hy a watchmaker of his. wife1 s lover (hidden in a closet)aS The lover, in this story, is betrayed by a music-box he carries in his pocket9 when it begins to play the tune "Dona Juanita*" Luco is fond. of portraying specimen examples of life in the Valparaiso

:slums0 .

Augusto (3-0 Thomson (before he adopted the pseudonym o f . d 11 Halmar) wrote several stories illustrating this trend 0 ■ ' . ■ ' " ' . ■ ■ c ("HumeroSp" "Sebastopol," "La Ultima Hoche de Bodas," etc*), adapting naturalism to the middle class039 "La Ultima Hoehe de Bod as" is a,, particularly gruesome cuento0 In it g -a grave® : digger comes across the body of his long-lost wife (she ran away shortly after their marriage), and the author describes how he. makes love to the putrefying corpse»

A contemporary of. Thomson^. ■Edua.rdo Barrios (b0 1884)

. y ' v cultivates the naturalist short story in his Paglnas de un

Pobre Diablo (1923)o "El cuento que da nombre al volumen V," /' ' f'. #.s algo asl como un monologo| la breve historia de un empleado: \ ' y " ■ ■■:' 1 ocasional de pompas funebres, contada. por su protagonist a,

con mezcla de reflexiones y de de sc ripe i one s s lugubre s y

^ - - zlsibles, egeistas y generosas',. atrayentes y repulsivas, • tales cual la vida nos las ofrece, ,::;::.':<.;;,''':^ .. 21 Joaquin Diaz Garces (18T8“>1921) encloses the naturalist

.seed in 'some .of his storiesg One in particulars “Los Dos

Patiosg 11 is reminiscent of scenes in Zola's LvAssommoir»

The two patios are those of a tenement s one where the middle* class people liireg and the other inhabited by those of still lower status0 The latter court is described in a realistic manner3^ . ' - ; ■ ■ z ' ■ : - . El segundo patio ofrecia el aspeoto general de nuestros conventillosa Saildo el empedrado no se habia ten!do cuidado de renovarlo y el pavimiento . % de tierra apretada habia dejado formar chareos en diverses puntos5 que ni oilan bien ni presentaban un agradable aspectOo La acequla corrla a tajo abierto po.r el- medio f:arrastrando. ho j as s; deS'oerdiclos de cocinas, cambuchos de botellasg corchoss • papelef y oj^ras materias Igualmente put ref act as» Bus hordes tenlp.% eierta. vegetacion musgosa y mezquinaP -.que nl ere cia ni se agotaba, luchando entre las aguas- con jabon de las arteshs . derramadas que le. llevaban la muertea y los numerosos abonoss portadores de fosforos : y otras materias azoadas. que la comunicaban nuevo ' vigor y alientos nuevo So

- .'V '• % "Los'Dos Patios"] ''

Bafael Maluenda ;(b» 1885) is also a .representative of this flowering of naturalism in the cuentOo While also a rurallstp as we shall;later observe5 Maluenda has written a • few naturalist stories ( “La Fa^milia -RohdanelliP " “Los Giegos'* to be found in. Yenldos a Menos (1913) and La,s Hijas del Re roe

(1916) both concerned .with the,':middle-class life of Santiago

Ih more recent times there has been a slight reawakening of interest in urban naturalismg primarily as regards its subject matters: everyday urban life in Ohilei' GMpter XIJ

SHQEP. S M I XBEBDS 1 9 Q 0 ^ 1 ^ l«;-x;Wm#"#mion g In . the nineteenth eentuiy there, occurred both In and out­

side of. Latin America several Important events, whose repercus­

sions were, to be., felt.In. literary circles, all, over! Europe and the .American hemisphereo The first of these events; was. the gold, strike of 1849 in. California.* . with, the subsequent influx of-both.Americans and.foreigners to western soil.In the Unit­ ed States o Secondly * the . arrest under charges: of treason of

Alfrdd Dreyfus* a captain, of. the,. French army and of,. Jewish. extractions, on ..October. IS.* .1894* was, to have..tremendous,,impact - upon literatures in that it, awakened a hitherto latent inter? est in social.: prej.udi,ee,a In. this,hemisphere.P another event of prime.importance was.the.unfortunate War of 18989 the

Spanishf=Amerlcan, War0. Finally s coupled with. these events was ' the growing atmosphere, of pblitical ,unrest in Bussla, which was to culminate. in the, Euasian, revolution, of this. century <,

Turning to the literature of the.. late, nineteenth and, early twentieth centuries,* one can easily see the,effect of these four above-mentioned events o The gold, rush in America was .responsible, in large part for,, the, literary production, of

Bret Harte» as can be seen in his. California Sketches* short ? v': %leoe.aa ^ lltta tz'aSiag;We tSpbl&--I :o £ .■' tiae ■=• • , ' ' -^

•■ ;. ary thought helped oreate a 1 iterary _.genre de.signe.d..to .ex=

>.;...v".. amine.: sooial. problems'^ Flmall#*/ the #ar'af:_ ..aC ' ■ ; " ' ; ,; -. marke.ci. .Inf luence upon. the . growing Modernis.t movement in latln:: AmeriAa^ in regard - to its nationalist aspects \ .r ■ • t The realism of. Bret Harte» the naturalism of the French - ■

' sehooLj. the social, conacioxisneas,.of ,Russian. autho.rs,9. and ’ -... 'r

: ; the...nationallsm„df ".the^M o ^ m i a t a s ^ ^ r e . to- ,ha^. .a^nrofGanad. : : ^ ,

:; : : effeottiipon:he v 111erature,: of . Latln . ikner 1 eans.o-^ Of^nouiBas..:' i-;; ■ ! tv;; •

■ . thase ^mo^ements,:do,,no.f... represent', all- .of ;the,,.lh£:lueheds;f.^lt^l ness,. Bo e ' s, and^^'% yet,, they:, are the. most.. Important t "

; . and widespread: among, the .authors, under discussiono

: . ■ Ghlle was not unaf.f ected - .by what., was going on:outside, t

. i.t^.: During the gold rush .in Americag. many 0.hlleans.> exiles

' either voluntarily or otherwise.^ had. travelled, north and . -x

: ■:: ■■ 7': ■ d : ' : . • 7 : ,: taken.. part in, the. Gallf ornia ,lmmigration0 : Some-,.o£ , them re= ;

: turned to. their, native,.land., eventually ^ bringing in. their.

■ ' . luggage the storles; of.: Bret, Harte and:, others.' The. works, of ' ;-y ''

. Zola.g, .de Maupaasaht s,. To Is toy.s G-orky9 Dost.oye.vsky and Turge- .D,:.,

’ neVj, to. mention. hut, a comparative.. few, arrived. in Ghile just

.. as,the;nineteenth..century was .drawing, to, a. c.lose.<,. :

'v.v: ' . ’ The, Ghile an. nation, itselfwas undergoing:, a •change.. dur= ; tr

: ing the 1800's 9 Independence from Spain created..a nation- . - . .

:. alls.t . spirit , -which., was to. be:; strengthened ...further by the : D ;■. ? '

.: victories over Peru and Bol3 via Ln the Tacna-Arica, dlsputesg v : ; : /; V. : .:;V 34 and by. the additional, territory wrested, from. each.P The na­ tion. was. expanding;, physically and intellectually^

. ' . When the . United States,., definitely removed .. Spain f m m : "

this ..hemisphere, iii... 1 8 9 8 9 the hitherto, exotic trend, of Moder- nl smo o i^e.o $ in. the manner .of the. French. Parnassian and. Sym- .

bjd.li.st:poets 9 especiallyj, was partly . replaced by another ?

mundonovl smo.o The nationalist, traits of this, 1JWew-¥orldi am"

cannot be denied* The wave. of mundonovismo slowly.. built

■ ■ : .V. , ; ■ ■ ■ ■ . ■’ ' ' . ' ' , - ' ■ - p ' ■ •• up to its climax, in the. writings of such authors a.s. Gonzalez ' j? . p ■ . . - Prada. in Perus Marti ..in Cubae Rodo. in. Uruguay s Vas.conce.lG.s. . .

in Mexico.s, Rojas and Ugarte in Argentinas and others9 lasting

up to the., present, -day,*

In‘Chilean literature the,Influence of the.first aspect ''' -r ' ■; r ■ ■ ;1 • V ■ ■ ' C# ) : ' ' of'Modernism was ;but.Slightly feltQ More,important was the

Impact of mundonovismo^ a way of thinking whiOh closely co­

in cidedwith the;existing spirit in- Ghileo. This' latter:'trend .

ofModernlsm took two forms, as seen in Chilean letters s.

examination of social conditions1 and. discovery9 with subse­

quent exaggerations of . the' hidden material and spiritual -

' resources., of the country * . p.

Thus 9 around the . end of. the nineteenth century.^ the. to­

tal conjunction of Realism,, Naturalism, and Modernism, .was... on

the-literary scene» The Realism of Bret Bar he' had had but •

: - (*-).. This can be seen .In the. way young Rubin Dario’s. emotional verses were mocked by his Chilean contemporaries during his brief stay in that country^ ;S : ; tolloMe^s p^eYloMMlj ±n Chile9 while Ha.turalismg a la

Sola 9 eteo has. already been seen in the urban writers* Mod™

ernism^ being newest^ had as yet few devotees0 These three

literary styles were* however9 to.give:both form.and.direc= ■

tion to the.major short story trends of the early twentieth oentury in Chila*

Three, new trends ■ appear:: shortly after 1900 9 two of which, are very closely intermingled* The least important., of these three.(in reference to quantity alone),is the.trend

involving, the imagination* the., work of purely ' aesthetic appeal.*.-. This is. really.-.a,,p.rodu.ct .of. the. first aspect. of

Modernism9 especially as concerns unknown or exotic, places,*

In Chiles this is usually a literature,of travel„ of myste­

rious travel in. the imagination, to equally, mysterious, and alluring places*. Representing this, trend in the Ohilean, .

short : story are. lugusto , d 'Halmar ^ real , name : Augusto. Thorns . v "

son^p Pedro Prado» Salvador Reyes 9 Luis Enrique Delano9.and

others*. . - ' The, two, remaining trends offer, eonsldemhle..difficulty

as to. .delin.eafIon, and .separation, one. from the. other,* Actually* with the. exception, of one, author9 and of those already cited

above* the ma jority, of the. cnentlsias of , this,period ,follow a particular trends the examination of Chile* with, noticea­

ble exaltation, of regionalism* However* as has been. men­

tioned* there is. one author whose eonsideration creates a

problem in this discussion 1 Baldomero Llllo* .. Lillo is . f.different, in fact that : ■

- ' he .pra,e.ti-Gally represents, a. trend in himselfo-He is .a social

euentista almost: exclusively o Nevertheless, it ca.n be said

; thafe aah3F©f.. his:, contemporarie.s:: are concerned- with social.

problems g for such. ls. the - case, t o . a certain extents A dilemma ; ; ■

■ is. inherent, i n ..this, situaition^; unfortunately^ : > El.ther Lillo .,

. i.s to be regarded, with. his contemporaries.:. as. representing, "the . 1 .

- rural-type short - story with.', nationaliat . and social implica­

tions, or he is to be cohsidered.. in a separate category ,, ; . '

After taking, into, account. what:.-has.been. saicLby various crit# . • - '

v ice - it - seems. . .mohe .. v a l i 4 ::4k)...»negard«;BaiSomaro; :,Lil,lp.^ . : '

. a trend in the development of the Ohileap short story» Sever­

al points . serve to support this decl.slon.o " i : ’

, / V ■ B y disregarding: those authors..- cultivating the., imaginative \

-short story ; one,.can see..that, the . other cuentistas not fol°

lowing the. trends -.mentioned in. Chapter, hwo ,present: the... fol^ ' . :

. ' lowing general charaoterlstics s. usa of rural; (as . opposed ,tp ; :

• urban) . Chile, as,'a. .stage.- fo r their, stories,; u s e of the . lower =

; so clad, 'classes to provide.. charae ters# and, a. nati onali sflc....

: •' and inquiring frame,of mlmd»- Into this, picture fit. most of

- the . authors.; Lillo include.do However9 the most .noticeable :

■ and: Important: a spec t , o f :iillo.is;: work, is/.tbat dealingwith ' : . . - - ,' - ... h-,;: . h.:f f .' o ■'.-a'. - ;5 ; o,' -- so.cial,exaainafionjl ; pare:.:and simple®/; :Mariano.:,Io,tOLrre9,.;him^v' ;. f;v \,

self a, near-contempora,ry of L i l l o * plac.es., him. apart-, from, the '

other.-:c.uentlsta8.«.' a s , repres en tliig.: a^ ^d i f f e r e n t ;tendency.s x :for' :: fy

the .simple reason that ^.Baddomero Lillo -.is more of a social h ; - ; : : ...... V ' 37 writer than are his contemporaries.c, . The chief distinction between . Llllo and. the other: writers., following these new trend s , • is that the former..puts message before .art.* whereas the..latter do the reverse o It Is., for this . bsslo . reason that Llllo in • this , thesis, is considered as a separate - entity s representing a separate trend*.

Thus we. have two .trends..s.. the..imaginative. and,, that rep­ resented:^ by Baldomero Lillo which ..f.o,r.,.purposes of clarity., ' will be referred... to henceforth. ..as., the. .pure...social, short stozy „

The . third trend is the euentp rural».. which, is recognized by every criti c as the .most iraportant . of the.. three n e w .. tendencies.*, both in q.uaiify . and. quantityo . The, cuento.. rural undergoes . ■ three semi-distinct phases: dramatization, of country life; . - epic . consideration of nature and. its. f orms; and, finally , the ' addition of psychological examination and . interpretation to the., preceding phases :o . Oharaet.erls.tle.. of the: first .phase are some... of: the..writings of Federico (3-a.na.,. Joaquin. Diaz. Oar.oes, Francisco Zapata,.Llllo* and. Rafael .Maluenda,. principally. of. the. second phase.* , those,, of .Fernando Santivan.£ or .S.an.tlbanezj.s Carlos Acuna, Francisco.

Oontrera.s, and Lautaro .iankas.o. Exemplifying. the third, are the works' df...Luis Durand .and . Marta. Brunet,, .as, well... as,,.Franeisco

Hederrap Januario Espinoza, Juan Burros, Ernesto Montenegro and, Mai te. Allamand# • Within this, chapter. the three:major trends of, the Chilean short story during the period roughly comprehended between 1900 and. t-he middle 1930 lls will be discussedg In their chron­

ological order: pure social, Imaglnatlire,, and rural0

Heference Mill . be . made in 'several, plaoes. to the .Gener­

ation of 900 o fhls .Generation p. in Ohilean, literature» includes

practically all of the authors . to . be. discussed, in this. chap-

ter® with. the..exeeption. of those concerned with the third

epoch of the cuento. rural0 LilioP d.?Halsiar9 Prado^ Reyes.?

G-ana.'s,: Diaz larcesp Zapata LillOj, Maluenda<, .San.tiv4na Acuna,,,

Oontreras.s and. Latorre are the major ouentistas. included ih

the. Generation of 900» Durandj, Brunets Espinoza,9 Montenegro

and Allarnand "- as cuentistas. -= are n o t . considered, as., members . ' . ' " • ■" * . -• of this group (although Espinoza and Montenegrop as novelists<,

'.are)* " ..' . ;' ■' : - . / . ‘

2» ' THE. P m E m O i m .TREm) (OF milEilhlST .IM ’LUEMOE-) s

From the Gonquest.to the.beginning of. the twentieth

century p and .continuing to a, certain extent up until the

present day 9 Ghllean. society has been 'seml^feudalistic. in

nature© The first Spanish settlers lost no time.In setting

up large, ranches in the northern and central sections of the

country § the south remaining for many years in the hands of

the Araueanian Indian s. 0 Later on9 the S.pa,nish.landlords were

forced to give way before the establishment of the Jesuit

colonies© Thus* the reins of power passed from the relative­

ly few Gonoulstadores, to the equally few religious centers©

In 17678 with the expulsion of the Jesuits from. Chile9 large ,

amounts of land were: left ownerless© Quick to take advantage of this situation were seveml Basque and Navarrese families who arrived.in Chile around this time.*.. The Basques-, were more numerous., than the Navarrese.-. and,s. aoeording to Ei.oardo.. Lat^ oham.s. were, to install... themselves i n . Chile ^ oomo Pedro en su basao11 This same, author continues, summarizing the relation of the. ..Basque to this new country;

El vaaeo fue poco .imaginativOs. pero constructor tenaZ o Gompro. a bajo. precio. parte de'las. tierras j esulticas.. sacadas a . remate cuando estos. religio= sos fueron expuls ado So Inst aid su tienda o. bara- tillo en. las. grandes cindades o Fuso^ su bodegpn al lado de la, r.ecia . casona y all! vendio los pmductos. de las. feraces haciendas.^. Oonstituyo^ en algunos •; casos 9 como en la de la-familia,larrain? .llamada la Casa Otomana o- Ids ochoclentoSg un clan social . de inexpugnable armadura. Con este elemento,se^ perfecciono la tela de la nacionalidad, y. se ereo un material, humane de especiales dotes para el. man- co » . . ’ El. vascOo oo con. sus tradiciones y sus. econo- mia^g que las., traia en arqueta. ferrada - o. en. escri- taanla cautelosamente guardada. en el. f ondo de la bodega j, labrd el soporte de la oligarqula diri- gente o =»» Arriba,$, en la cordnaolon. de la pira- ' mide social-domihahdo a da, ©asa. explotada y a. • la clase^media indefinida y^borrosa aunP estaba el senorlo vasco de-los Errasuriz y los. Eyzaguirre s de los. Larrs,£n y -lo.S:. ..Eehazarretas. de los Ureta.^ y de los U m e n e t a P de los lanartu y de los Vicuna9 de los que formaban la casta dominadora del pal- - sanaj e criollOo . This .omnipotent. an d . omnipresent . Basque , oligarchy s. once estab­ lished, on Chilean, soils. • became, the. dominating force in the , country’s economic and so.cial.llfe0

The revolution against Spain., with the. ultimate., declara­ tion, of Independence by the Chilean leader.Bernardo 0 ’Higgins in 1818 s did not. overthrow the, existing oligarchy» Unfor­ tunately for the mass of .Chilean peoples “la revoluoion no trastorno el sisterna agrario y dejo vivas las fuentes de la desigualdad soelal-o'® ;;

Rule, of. many by a, few thus continued unbmken I n . Ghil.e

until a much later. perlod0 Q on current with.. Increasing... power -

in the: hands of the...Basques... developed , a ..change.. in the psy­

chology of the working class.|. from a spirit of. passive ac- .

.ceptahoe rose. an. attitude of. antipathy and a.keener aware-

. ness., of. the. social, injustices: ’ suffer.ed by,. them»

The.largest section of the working class in Chile.is

formed.,, by the. people., from, the three, .areas, of economic impep-

tance.s. the. mine.j, . the. country a and.,the. sea*. Miningr of > aoal. .

and. nitrates, had, for many, years been, a mainstay in Chilean

economy9 the first.mines dating back to colonial.days*

Rural agriculture had increased: under the. Jesuit domination^

as., it had..elsewhere on the. continent* The. importance, of the

seaa economically s> had. only recently . begun, to be .exploited

bjr 1,900 9 as foreign trade was relatively small, during the

nineteenth, century* ■ Fishing9 while.,providing employment, for

many s was nev-ertheless but little considered. as an: item of

true, e.conomic . importance. until, fairly recent times,* '

Oonsidering, the .imp.ar.tan.ee . of the mining industry it

is not, surprising that the, first, st.rik.e»ln Ghilean history ■ ' . • , ■ : - y ■■ : should,be brought about by. nitrate, workers, in Tarapacag. in

the year,I8 9 O .0 This* rebelliona as is typical, of the ensuing

ones*.. was the result of. two. powerful, motivating factors * The

first came, from, outside Ohile.g as. Jose Santos, G-onzalez Vera

asserts* nDe la, diaspora..venla,el,e.eo de,' los,congreso.s. ' : ' V : ■ v : : 9 : soolallstas y llegaban librosde Tolstoi y Zola," The . - 41 Increased; interest in sociological problemsg shown by writers

outside GhiiS j,. was -belatedly f elt within the country 0 Goupled

with this first factg and greatly supporting itj is.the

seconds • the overwhelmingly backward social...'.and e.Gonomie, con= ditions.imposed by the minority rulers upon the mass of work­

ers o ' Some idea... of the. conditions. existing among the. lower.

classes, of the time can be obtained by noting the following: dO . ■ passages , ’ ■ v ‘ / . - ; . ■■■■ o-o o la vida del. obrero. carecia, de. toda defense,, social.*., Estaba,a mer.eed .de: la voluntad capri.eho.sa . y arbitraria.de los,.jefes de fa.enas^ Promiseuidad /: sucia y zarrapastrosa circula^de iodo la. existent . ola de aquellos hombres» Vivian como bestias^ an ... euartos estrechos;..y,,sin luz9 y los q.ue-. caian .ven- ; cidos per una cruelta de la suerte en algun accideh- ' te imprevistOg o roidos por la lepra de. la .tuber­ culosis apenas si. tenian como valerse* Los. ninos eran llevados .des.de.. temprano, al.. trabajo9 sin res- peto alguno.por la vida humana.ys e les encomen- , daba 0 <, o-las, f aenas . m.Cs. penosas y mortales^. Sobre ese mundo siniestro revoloteaba la voluntad omni- moda de los dueno s de la, empresa*

.6 -onz.al.ez Vera but adds support to this statement when he : 1 1 . points, out that:

Habia nacido ese. sentimiento c i«e<, <, "de oposlcion . al.. rSgimen. social.. existenteJ'ji por la-preeminenoia que s en el,, manejo de ,lo..s. negocios pfi.bli.c0S 9 tenia. . esa oligarqula vasca que. los, pobres llaman artsto- craciao Esa aristocracia gobernaba para mayor.pre- vecho .de.'sus prop.los ,c.omponentes o. El pueblo. era para 6 stos el conjunto de.. seres, que trabajaba, ,sus fundosg sus. minas y salitreraso Se le consideraba enmin.orxa deedadyd^ una razs. inferior, apt a s6 lo para el trabajo fisiCOo Se pagaban .salarios ridiculos | se .usaba.. en ' ■ los grandes eafablecimientos el sistema de pulperiag fichas y multasi las habitaciones populares eran pesimas y la instruccion estaba muy pooa desarro- llacso0 0 6

The reaction to these oppressive working conditions took two' for els : e It her 'the. natives ; left 'Ohile,, going- as . far as ■ ' . 12 California and Australia ? or they remained to initiate, a

rebellion which was to begin with'the already mentioned ni­ trate strikeof l89Ci» " h . ' .it’-;- ' : : v --

After' the. first. a trike. manymara, followed^ andln oon- ' junction, with these, gestures , of , protest, the. .process..:..of... . '

unionization.;' beg unfold,, ' An organization: of . railroad

workers was:- the first sneh e s t abl 1 she di n . Ohile.s, in.1897 s 13 -v and was no sooner set.up than many others began to appear0

• fhe first union, of mine. workers was.-thaf organized, in 1898«,

called, the "Onion de Obreros en Resistenci.a..del: Carbon?" . : . i t,:' .. A-: - 1 # 1 .-V i f under thel.eadership;..of^huia..,llarale,S:«.:. Within a few years . . ,

a social., movement. of considerable, size., was well under way.®

Representing the:..voice of the. masses....were.. innumerable.^" i-i

short- lived- pe r iodic a,l.s.. wi th such" names.. as. "El.. Obrero" {1897)»

''"lliRroietariof (1899)». "terminal.".... (1901 ),9 "m...'Orltdidei-i " ; : - ; - .f. ' - ■■■’■'; : ■ - 3-5 . h . O %ieblo (1902) g and. so forth, ad;., infinitum®; These- papers

were put out primarily-, by political groups .favoring, such. Vi

widely:. varying -heilefd as: anarchy 9. ,socialism.., democracy9 etc® :

They all had one . aim. In . common., .however..: the am.elloratlon .of .

eriating sdcial and ecbnomidiconditions to the benefit of the

worker® ;: ' : ’:.V:v\. h'Wi ■ i , .'v" :i VV:-'; i ''.', V' v':V" .; Turning.: to., literature, at this point ,, . and. specif ically to . -

■ th e . cuentistaa..;of this, periods it is true that, many: •treated. .

social theme.s-.p . but* as, has been previously pointed out .. (in. the:

introduction to . this chapter) s. their aim ..was not :primarily

. that of propagandizing® Relatively: few writers of the time V ' / .. ; % in Chile preferred to limit their endeavors- to the.field of pure soeiologioal, writings ■ i.oeo p examining the existing oonditlons with a/iriew. to improving thean

In the. ehort,,.story ..at.... the . beginning of this, e entury .p -

Baldomero Lillo (1.867-1923), oe oupies a rather, unu aual.. p lac e0

Regarding, his. themes... and. intentions.s, he has.. .no antecedents . ln...the. litera.ture...of .Q.hlle^ as., practically every critin ' ■ '16 : • " ' : : admit&e,. His. styles however^ is. naturalistle, Baldomero

Lillo uses the same, style, of writing as the:urban naturalists discussed in the. preceding chapter^ vfhere he differs from them is In his use of an essentially non-urban locale.* The

CUentoS of . Lillo, which, deal, with, social, problems, can. be di­ vided into two group So The first a concerning, the, campo, is relatively smalls,, consisting actually, of but five stories.s in the, collection Bub-Terra (1904) e "G.aza May.or.s !l and “Era,

El Solo |.M ,in the collection. Sub-Sole (1907) $> l8En,la. Rueda.s K

"%ullapahg ^ and "El, Vagabundo" (which is,actually a revision : of the storv 18 La- Mano Begadao11 found in Sub-Terra.) ^ .■

As, is characteristic of .Lillo ° s sociological short stozl es9 each of the, five ,mentidned,,ls,,designed, to. point: out. a partio- . ular aspect of existing conditionsp The, first .one. mentioneds, -

',! Gaza Mayor 3" i s . written in, a tragic comic, .vein.* An. old man5 while.huntingg his only method of.obtaining food9 is contin­ ually plagued by. the omnivorous dog of . his mas.terp , Every ; time,he manages, to,kill, a bird9 the:animal; arrives on, the scene, first and eats, the killo The poor man is driven, to. the end of his wits; being infirms he cannot prevent the powerful dog from eating.•tlae.-.^lrd.sv-ajad:.-lie- dares not. shoot, the animal,, for fear of the . inevitable, consequences from., the dog ° a owner ®

Ultimately ^ the hunter !s repressed .-'anger breaks forth and he shoots the dogs, to his own inner, gratificationo

’’Era. El... Solo111 is . a /very pathetic pioture of an orphan bojp torn, away from. his. brothers. and sisters to become a servant to. a cruel, mistress., with the. Ironic name. of. Dona Be- nignao. G-abrielg the boy $ is continually beaten and overworked, by hi s mi stre.ssg and as a, result. slips into a- state. of . comple te apathy: brightened only by..a one-sided, love affair with a girl whom he watches from his. window/. Finally convinced that she love a another s G-abriel. takes . advantage, of. Dona Benlgna8 s afosence. to sho-ot himselfo Hi smis tress* upon returning $ is completely overcome , and faints.o In Lillo 8 s. mind9 at least s the orphan has repaid Benigna5 s . cruelty by 'destroying her vicious prides " .

18En la Rueda" is a bloodthirsty, description of a cock­ fight.® According, to..Gonzalez. Vera^ this story produced in one Ghlleam,town /tanta impresion. y tanto horror queel ad- calde deereto el inme.diato cierre de las, gallerias e hizo perseguir a. los .gall.ero8,$, prohibiendoles. el. e Jerclcio.. de ese. negocio. .barbaro,®.. Los galleros.. juraron matar al culpable IT de su definitiva.,ruinaot$ As a result of this poor Baldo- mero. was forced. to . carry a. revolver for. some time.®

"Quilapdn^ concerns the problem of. . the greedy landlord who tries to take over the. small, plot of land, owned by his neighbours a poor Indian® The cruelty of the rich man is ‘f...-;forcibly brought out, by "his. many actions9 such -as .hawing 'a

; v. ; horse /drag the lndlaB through a brush patch, as punishment, ^ : :";v:

for the Indian, s killing of the rich man's horse. The white . : v :v vvmaia d;:.e$il,; nature is contrasted with the noble bearing of . . .

t, V the Indian* ; ,b;V . ; t.;t ■; v \ - \tb.v

• v';;-:'- : y; 15El Vagabundo11 is a _variation on. the theme of "%ulla« ■

■ : ; panwith'' the powerful: man. trying to overcome., the less^ ,; ■; ; ;

" - powerful beings, in this. case, a beggar with a withered hand ■ -

stuck to his breast (supposedly as divine., retribution for

' yhia? once: having, struck his motherjo Maturailys the cruel -

. . . master must show his lack of concern for religion$, and he

;;y' • forcibly removes, the.-.beggar's...hand from. its. position^ As - 'hy:. y

' y penalty for the; sacrilege^: the. rich man.6s son9 Isidro8 later ;yy y '. - slips... from-his horse. and-is-..se.v.e.rely. injured.,, _

The second . group of cuemtos . s.oc.iales;. by Lillo. . concerns

,y; life in the mining, regions to. the...north.— - particularly the • -

. y y. coal mine 8.0 It lay while, presenting the social and economic . . .

y . conditions, of the miners: that Lillo.. approaches, perf ection.0 y

:'t: More; than any other author. ln...0 hll.e.g Llllo has., :suG.c.eeded,. in :y;. ,

■ capturing the basic , emotions, and. interests. of thi s laboring .,yy y ;. class s without permit ting .himself. to;: Idealize .them in any ' ;y

y :: way.»y . :. ' . yy \; - y. ; y - ; ■.■ t.'u ■ y . yy,: r:;!'.;

, y';V " ; There is an. explanation as to why. Lillo 6 s . stories are. / :

y/'/y / .' unique in C M lean, letters, as regards mining iife.» •;he;i-sythe', /

onlyy author who has- lived and been a real .part, of the life he y

/:\'y. / describes« y His father worked in a mine s lillo was - born .in; .I'?; ;y//' /vy.;..''.. • ' : ■ ; ■ ■■ ■ . ■ . . ■ ■ : : 46 Lota$, a big mining center^ and .his early years were, spent in

■close, examination of and actual work In the mines-o As a re­

sult of this .hard.llfe.9 .and-.of ..his natural.. ill^healtbg. 1 1 ,lip

died .rather prematurely„ at the. age of forty-six<,- .This, first<= hand .experience-^ .howerer..|, ..Mas. to.-.be of great benefit and 18 importance. as - co n c a m s . his " later: lifei.

Desde la infancia.conooioy pue&g el ambienteidel duro trabajo de. los. ob r e m s 9 ques en socavones por debajo d e l .mar» arrancan, a. la, tierra... el. oro negro del. carbon* los.hundimientos pue apiasfan a centenares d e .trabajadoresp las emanaciones de gases tdxicoa,. los derrumbes, las enfermedades. ■que atacaBj los. pnlmones no eran para el un simple espectac.ulo,o.. Sran. cuadros. de miseria humana . que ; to caban su dram.atic.o,'caracter0 El revoluci.onario ;. eh potencia.. que, era Baldomero Lillo s sintio» en oontacto con esta vida difieil9 crecer sus ansias de justlcia social» •

Q-oing back to. what ■was' said, earlier, in this,. s.e.etio.n.i, both

. Melf 1 and G-onzalez Vera mentioned. certain... conditions,, which ,

caused .suffering among mine workers . (ref er to notes. 1 0 and.

■1 .1 ,5, with their accompanying citations. ) 0 To summarize^ these

e.on.diti.ons. were I in. . regard, to actual, work, cruel overseers,

excessive hours a, poor, working conditions.g. and child labor.i..

in. regard to . their economic, statusg low.'pay,9 made lower., through

an overwhelming, system...of, heavy fines,and p.enaltiesy. the lack

. of:, suitable housing's,. and, the . complete ,dependen.ee,upon-the-

mine owners, for foods as it was,,forbidden, the miners ,to,pur= . . - " ', • - .. s* - - ' ' chase, goods, save, at the pulperla run in the, mining compound0

Each mine became an independent organisation 9 with its, em­

ployees confined to the limits of the workings» Such a medi­

eval arrangement existed during LilloSs early years9 and he - \ *7 was te fIgkt against this by means of hi.s storieso -

For brevity of treatment*, since. so many of. Lillo *s sto­ ries are concerned with the coal mines*, let. us take the con­

ditions discussed in the preceding.. paragraph. ands . through

' reference to sp.ecifi.c. stor.ies.3 illustrate the extent of .

Lillo8 s coverage of the situation^. Those short stories inclu­

ded in Lillo ! s two ma jor collections are: from Sub-Terra.*, "Los

Invaiido.s.9 ."-. "La Oompuerta Numero Doce 9" "El Grisus !l l,El Fago $,"

"El Ghiflon del Diablo *11 15 Juan Farina,11 f,El Regi s tro g" "La

Barrena.r" from Sub-Sole 0. "El .Alma de la Maquina.^" ' ' : '

• The. representative of. the small .ruling powers appears

frequently*, be he overseer9 engineer^, or what have you 0

■Although there. are one. or two isolated examples of the , good

caoataz,. he is generally , painted in the poorest of lights*

The following passage, is a typical ..description of the depraved 19 and cruel, master , and . of his ,actious,s

Mister Davis.9. el ingeniero, j efe9. un tanto obese s alto.*, fuerte^ de. rubicunda fisoromia* en la .que el wisky habla. estampado su... sello car.act.eristicOj, inspiraba, a los. mine.ros. u n . temor .y respeto easi super s. tic io so.s..a; Duro. e Inflexible; su trato con el obrero desconociala piedady en su orgullo de raza consideraba la vida, de aquellos seres como ; una co.sa. iadigra., de, la. atenciSn de un, gentleman. , que rugia. de col.era si su ,eaballo. o, su perro eran vletimas d e . la mas. minima-dmislon en, los. cuidados .que demandaban. ,aus .preci.QS.a.s existencias,*, ^ : . Indlgnabale como una, rebelidn ,1a, msLs. timida , protestade esos pobres diablos y su pasividad de bestias le pare.aia. un deber- cuyo olvido. debe castigarse, severamente.o ^ pas: visitas. de inspeccion que de. tarde, le. imponla, su puesto. de, ingeniero /director^ eran. el . punto negro de su vida refinada y sibaritica* Un humor endiablado se apoderaba de sudnimo durante aquellas fatigosas excurslones» Su. irritabilidad - se. ;ta^ads^l.a-v>aa.: Is ;ay.lix;a<3i^n..:de.: .Ojastlgo^- J . &e-.;ra3*. y; " : : tas^^e. eaiaB- indi&tlntamente sobre graBd.es-'j ■ pe-' , V: ;' . ' quenoss, y su pres-encia: anuneiada.por la blanea luz.. . -/ ; de su linterna era mas t;emida en la, mina. qua loa/; • ^■■^^/hutocldmie&tog::‘;■■^: laa viezploalones del grisu® r . ; : ■-J';'! Vr.;. - ::

In the mind, oid Lllin.1 s eapataz .- are. but ,vt*0 '. main. t^

ameliorate lala. own position as inuQli .as. poas.lMep and.. to pro.-,

tect the interests of the mine as a whole« fid does not. con­

sider at -all. the people who work under, hints, treating them '

like . animalso - v ConsequentlyP :*he ,suffering.; workers, and the'

. equally-suffering "horses who work .’in . the mine become, one j. as

wetcan see in a.worker"s reflection.while.watching an old ’: ;yv" - 2 0 \ • horse9 DiamanteP being taken out. of . the., shafts

cPobre. viejo9 te echan.' pprque . ya no . sirveso : Lo’ mismo nos pasa atodosc Alli abajo no se ha.ce. ■ :. . / ' ’ distlnciSn entre. el, .hombre.. y la., bestia.^;; i Agotadas las fuerzas la mina nos arroja como^la araBa.arro- , ja iuera.de. su tela.al cu e rpo exan gue de la mosca . que le. siryi6. de alimento ‘ i Gamaradas s este .bruto ©s' la: imagen de nuestra vidal Go mo. el9 nu.estro destino. sera, aiempres, traba|ars padecer y^morir« ' ' i,/’ ; : ;y:; . ^ ; . Actually/ the miner is .little.,, more, than .an animaly. .a re­

sult of. the lif e he is forced, to- "endureu,: .Dlllo: Is/ at . his / //:;.

best.Awhile describing, the men ,of. the mine-s, . although his . : deiaription ..ia^more often physical;:than,.psychologi:Ga.lo:.hEake.$, .

. for example p the following passage^ .concerning: the older men ■ ; 21 ’; "■ Vi . : / ; : " . • ’; , : ' '-■'/: ,of a minet. : // ’ . ;■ ; Eran. los invalidos de. la mina9 los . venei.dos. del. ’ ■ v ■' / ;/ trabajOo Muy pocos...eran. los „que...no.. e.staban ,muti- . :.,v lades y ■ no careclan . ya de. un brazo o de,una .pierna0 .: Sen tad os en un banco de. madera que reqibia d e ; ;// , ' ' ‘ llenb los rayoS/ del . soiy-sus^pupilas fatigadass hundidas/en las orbitas, ten!an una extrana fi- /. ,; .jezBo fit una pal a bra se cruzaba entre ellos/y de ouando . en CQando:s tras^una. tos breve j cavernosa9 s b s l a M o s se entreaiaria.n,,,para. dar. paso . a - un eaeu,?’ pitajo negro como la tintao - -'El OMf l o n del Diamo'' ' . The -actual- conditions. of imrk in the. mine were far from oomfortable-o There was always the continual f.ear.of a, cave™ in or an explosion of. ma,rsh=gas, to be reckoned with. In additions the seams, of. coal were... quite, often difficult of :■ • 2 2 . ■ aeces.s9reshlting. in soeneh.,. such aa:. this..s. :■ ■ ^ v / ■ : h ; \ ' ■ h; Pedro. Maricon las plernas encogidas.9 acostado sohre el: lado .derecho.^ trazaba.a, golpes de pique- , . ta un eorte en la. parte baja d@: la vena<,.» 0En. aquer-: 11a estreohlslma^ratonera el calor era insopor- table.o Pedro. Marla sudaba. a mares y de su: cuerpo9: desnudo. . has.ta. la. cintura s. bro taba. un calido vaho ' que con el .humo de la -limpara forrna,ba a su. alre- dedor una e.specie, de. nleblao . oLa es.casa venti=- . Ia'c-i6n aumentaba sus fatigasg el aire cargado de impurezas j,, p.esadO s asf ixiante^ le producla . ahogos ' y aGceeo.s . de.. aof ocaGi.on« o 0 . Apoyado en . el., codo s cbn el. cuello doblado» . golpeaba sin . descanso, y a.. cada. golpe.. el... agua d e . la cortadura .le azotaba el. rostro . con gruesaa.. gotas que. herCan; sus. pupilas. como ruartilla.zos 0«o • La tarea,^ da.. ar ran car. el carbon s que -a un novlcio le . ps»recia operaci6n senellllalEa 9 requiere no poca mama y destreza9 puea .si ei gblpe. es muy oblleuo. lahherraiaienta. res.balas, desprendiendQ. solo pequenos trozos* y s i l a .inclinscion.no es ■ bastante el diente de ac.ero- rebota y se - deapuhta* »..♦.• tin sudor, ' eopi.osls.iao. ; empapa. su.,.. cuerpo y el espeso velo que se desprendia de la vena, me_z- clado. eon el aire que [email protected] 'se. introducia en. su.. garganta y pulmonesio. o- * Una got a de aguas persistente y rapida a comanzo a, ca.erle. en la base. del. cu.ellO o o 0En balde trataba de esquiv&r aquella. goterao e» _ : . Sin embargo, no cejaba con su tenaz empeno<, E?&L,£agQ.V ' ' x . ' y ' ^ ' '^23 . La galeria del Qhiflon del Diablo tenia-una slni.es.fra famac o a oa medida que se ahondaba en la rooa, ^sta se tornaba porosa. e inconsistente^ Las., filtraeiones un tanto escasas. al empezar. habian ido en aumentos haciendo muy precaria la estabilidad de ■ la techumbres que- s6lo se sostenia mediante solidos 50

revestiraieiitds-o « o« Se. reveatla-, alempr© 5, si9. jgero gob flojedadg, eaQnoml.zan

. . (Note here, in addition^ the. appearance. of a .compassionate .-

capatagp a rather unusual , occurrence in Llllo.8 s cuentos».)

Serving to add yet another burden for the. shoulders of

the .miner were, the . countless... fines .and, punishments, .imposed

upon •thems, whichs coupled with the very low price paid for 51 each .eartlodd of coal, created a, continual, struggle for car- ;- : v; r::s5- ■ :: •v-\ ; : -: ■ ' ■ ■■ ■. : y i ^ a n ;v ' < v •' ' :/ ^ \

- : ; gse" dia deaMnado a.lpagode los jo ma l e s era siem- : ■ pre esperado con- ansia y entodos. los . rosfros hri-V v ^ llaba cierta alegria j :anlmacl6 n» : / P v > Alll.^ dstaha,. thdo.. el . personal de las dlstIntas ' faenaso o-o. '■ ' ; -v - ‘ - De-spnea .. de : un. rato . de. esp.era, el po.s.tigo,- de.. la - - ventana se alzo:0»» £ I'oPO-g. the following was .omitted ' - from, thi3. q.uotationSo c oempezando inmediatamente el pago de los. jornales =. Ssta operaclon se hacla por se-cclonesy -y los o brer os. ©ran llamados uno. a., uno - _ ;g ;: : - per ■ los. capatac.es que •oustodiaban la . pequela aber- . ■ turaj,. por la que el pa jero. lba . entregando.- laa can- tldades _ que constitulan el: ha her de cada cualo '; ' -sdmap;«rah. eh: geheral-redueldae^:. pues/se^ ... ^ : , ' limitaban al saldo- .que ..quedaba de spuSs de deduclr . el, valor: del. aceite, carb5n. y multas y el.. total, de .::lp_/:COh8 hmldol;eh 'el..:.despacho^ - ; , ^ ; : v:: . ’ 1 ; ' - Los. obreros s.e; acercaban y. se retlraban en . sllenclo 9 pues, estaba pro^ilbldo. hacer. observaclones e o« I A veces un- mlnero p.alldecla -y’ clavaba .unav/m.irada de\ sorpresa y . de... esparto- en. el. dlnero . puesto al, . horde. de la vertanilla , 8 in atreverse . a tocarlo,.. ' ' pero: ur ; M:-4.ISet.^rate,o..l, Impea?!© so Me , los, capataces. 1 : le hacKa Jestlrar,: lai maro y ,cOger ,las. moredas .cor, ' / .. sus dedos, tembloro.sosg apartandose en seguida eon ' , 1 ;' ' :1 a.: cabeza:.ilaJa::.y una e.xpreslSn. estuplda. en su ■ sem- . : blarte,. trahSfQrmadO,o,.o..o ; . I ;. ^ h \ \ -=>fleres,4 1 eB pesos de mulfa por clnco de, : falias y se han deseonta.do: doce earretlllas que : tenlar,. tosea»,®,o ' ;:v .Aulse ..:re.spoh . , ; / nna,ojeada le bast6 a la mujer para adivlnar \ que el obrero. traia, las. mano.s .vacxas. y se echo a . .ll©rar»,o.o'. ■ ;v: / : ' •■'.O': g: '.V>’ :v ■ Virger; sahta.s,: S que ' vaaos ,:a,. .hacer-i. o o o Y. por, la vehtarllla. ablerta parecla Pro tar un hallto de, desgraclas.o = o • X. la lluvia cala. slempre^ Gopiosa& lncesantes empa.pan.do la .tlerna. y calando ■ las,, ropas .de, aquellos. mlserables para qul.enes.. la ; ■- : llbvlzna yllaaiihclbmenclas del olelo eran. una-par= . te muy pequensJ de sus .trabajos y sufrimlentos0 y,.

' Baldomero . Llllo .urote a.. very . touching; ..s:to:3g . cohoermlng

" the necessity of. the .miners to buy their goods . fro.mv the" com­

pany store. . The cuento Vis entitled "El Registrog ” and lu It:. . 52 : ■ we ae,e a. poor woman..who. has: .saveA. for many weeks :and months

In order to buy a pound of real yerba mate-(not the.cheap

'"brand, sold, in the company store)..» Finally .accumulating: the .

moneyg she furtively escapes.to a nearby town9 makes her p u r = .

chase# and. . smuggles. it back into . the. compound under the

barbed, wire o. Unfortunatelys she is. seen, by one of. the. super­

intendents# and. her ....house.: is searched,,, . . Her .emotions regarding

: ■■ . 2 6 . the whole ad.venture ahe aeeh. in the following 5 " ■ . . Mas 9 no. era esa sola la unica. dif icultad.g.i..0eo s phe ■ ' amassing , of . enough money , to . buy the, .teajh, Sxlstla.: tambien la prohibicion. estrlata para todos los .tra=» baj.adore.s de la. mina de. cmmprar nada9: ni provisiones» ni un. alfiler^ ni un pedazo 6 Le tela fuera del des- paclio de la Oompaniao Gualquier . artl.culo. que .tu™ viera otra preeedencla eradeelarado.contrabandoy confiscado en el acto 9 siendo penadas las, reinclden = . bias con la expulsion inmedlata del contrabandista0 • ■ : . > tlEl.. Begls.tro.M 3 i /

When, the, mate Is, found, by the searcherss it is, confiscated.o The poor woman# however9. is plagued,by another thoughto,. Under

the ...existing system^ it, la, quite, possible,, that, she, and, her son

may be thrown out of. their. house 9 and. have,no. place. to. liveo

Thu s. a when the conf Iscators have left, and the. patron has

decided, to allow her to remain in her hovels her reaction Is ■ ’ 27 'interesting^,. '

La abuela quedo- sola« Su peeho desbordaba henchido de gratitud por la bondad, del patron, y hublera, eaido . de. rodillas a sus plantas sl .la sorpresa y el temor no la hubiesen paralizado» Bln.levantarse del v asientOg se volviS hacia. la ohimenaa, e inclinS la cabeza pesadamenteo g"El Registro”^]

It can be seenp by comparing the examples cited with the

statements of Melfi and Gonzalez Vera concerning conditionss, eeonoHid and socialj, in the mines-p that. LillQ . has presented

a. fairly accurate picture.of this life. His self^identifi-

cation. with the.s.e. people he knew so well is in large part ,

responsible fo;r. this o ' •

Also. In .. relation' to Liilois description . of the. .stiners.s, i it is"interesting to. note that he strengthens Seura Salvo“s

estima.tion. of this ..type.» Qarlos Seura Salvo, mentions ..as . ; v"

. chle.f.'. char act eristic.s'...of.. the. miner his .,1 imagina.eidn exalts,- ■ :■ : ' as ; ■ ^ da" and Ms.. superstitipus.,hafure.0 In Bs,idomero Lillo ? s lejenda. of Juan Farina these same points a,re brought out.most .

forciblyo Finallys Seura Salvo.says of the miner that "solo ' : _ V: \ ,29 .. ; . :. le ro.dean tlnie.blas.o»o 9 " and what we have already discussed ,

thus far. serves, to, prove that, points /

In.. regard; to. the. literary: influences, upon. Baldomero.

Lillo. (concerning his, sociological, preoccupations) practical-

ly every critic has mentioned Zola^ Bret. Hart©s, G-orkyr9 and

Dostoyevsky,s principally. Ruth S.e.dgwlcka in, her brief .but

thorough study of the, relations, between. Zola and . Lillo.a has

presented a . strong., case. to, prove, that, Lillo . was,under, the

influence. of the, French.naturalist, writer« In. addition». Miss

Sedgwick points out that the prime difference between, the two :'is Lillo 8s lack .of preoceunation with scientif ic propo- ^ , . .. . . : ■ . I ' / 30 ' - .sltionsg being solely concerned with SQcial problems<>

Lillo in. his mining stories» obviously is, inf luenced by

Zola 8 a Germinal* Some, of the, descriptions f ound in Lillo

have their counterparts In Germinalo For example8 the desGJ?iptIoi3 of Bedro Maria cited previously (see note 228

:wi th ae.comp.any ing citation.), . ia. more. than siBilar,. to Zola.e s

picture of Maheu at work (G-erminalo 1959 edo $, p p a 40-41.) ®

In doth cases the worker is troubled by. the Incessantly— . , dropping water«, There, might also be cited as an example of

similarity between the two their description of the .worn-out

horses being removed: from the mine* The. repeated..ocourrene©

of identical themes in Germinal and in. Lillo 8.s mining

stories is surely no Golncidence, ’Rathers it demonstrates

the influence'of the French naturalist upon'Lillo®

Very little, has., been .. said.,concerning the. influence., or.

effect of Lillo s social, cuenios upon conditions in Ohile.o

■ Gonzalez Vera, is the only, critic who has seen, fit to. .comment

at all on this phase of Lillo» .Unfortunatelyj, save for. the

reaction he cites in reference, to. the story 11 Sn la Rueda11 i|.see.-Previously in this section) s Gonzalez' Vera is success-

: : ' ■ . - ■ 5i . ful in clouding the issue.completelys No tuvo Lillo.

estreeho contacto con l.os...mentores- de .e.sa. generacidn ^ i»e 0» •

tha,t o f . the 9 0 % p ni, reali zo nlnauna labor de. Propaganda g 0 * ' it no tenia.-amb.i.Gl ones,.mat.er.ial.es. ni. odios» ^Italics my own go

Five cages, laterP however# - the same critic, makes . this, state- 32 / , , . ... x • . 'mentg , Ademas^. su.libro'- Sub-Terra, fue. en. el acto. levant a, do

como banders por el soclalismo.. inclplente . que dominaba en-

tonceSj, so cl all smo de s arro 1 lado por.razones organicasc. o = o16

Thus we can see that. the. story of . sociological imp.li.aa-

tion> while, not excessively popular# has.been cultivated by

‘ , 53 " , ■. ■ Bald-omero Lillo o As we have already noted (see introduction to this chapter) s M s writings show a marked difference ■ from.

those of the majority of his contemporaries as regards, their

•aim®:' -Lilia..: wished to., .picture: - the suffering of the people lie

knew well 9 the _miners.0. His.;.own. deep interest in his subject

'Ws:#reated .through. hlM<.knQwiedge:v and. understanding of these -

-:pedple:9 and made... itself felt In his short .stories,,. It. ls.:.ln j ;

;hls : in t e r e s t h i s subordination of art. to messa-ge g: and, ,M.a;' -.

.realistic-: presentation of existing sooial. conditions. In Ghile

that:, we can see Li 11©:to bejwhat is called a sociological

■ wrltert \; j: ' - :o, h / ' : f. ‘ -'' Baldomero, Llllo. is :'hdt: to. be ..regar.deds however, as the \:

only puentlsta In Ohllean. literature to deal with sociological

matters» : .His. position i s rather that . of a very early. prede?* ' :

cessor/ since9 as we.shall see in the next chapter, the cU®nto

of social examination .has only recently attained a'.sizeable ’

numher of . cultiyatorse, ; ■■ o ' t : , / ■il" '

. From, the ..exotic period..of Modernism, f rom the nosta,lgla,-

. like... tales ..:of,.;llerre:hotl.s ■and., from their own. Inner'longings g'

several Ohllean writers, drew the-Inspiration for their tales

of adventure --. their, often, rhapsodic narratives® For the

■ first time in the history of the Ohllean shor-t story a group.

of authors s members of the Generation of 900y .let. their imag«

inatlon for-m, .the. bacte-bone;■ of their 'works.o For the first ./ time authors .were:writing ;Muna ..prosa ,que9. par sl mifma, pro- ^ 34 .dujera placer, hi clera sonar y cantars una pro sa magica^f ' .t . . • - 56 : These writers^ led. by Augusto d 8Halmar (1882-1950)s Initiated

the Imaginative movement in the Chilean short story» One of

the followers of d 'Halmarj, Salvador Reyes (b. 1899) later - . .. 35 gave--, the., trend, a name,: ■. ima^lnlsmo o.

The most'important representatives of this. trend* the

true imaginists^/ are. Aagasto: d "Ralmar g Aagustp Thomson^ »

Pedro Prado (bo. 1886) <, Salvador. Reyes j, Luis Enrique Belano.

(b© 1907), Juan Marin (b?. 1900),, Jean Emar and Diego Munoz.®

In the various ' writings of these men three principal chara,c=

teriatics are to be notedo The first, and most.widespread^

is es.eapism.| the. seoond- i.a... pr.eoeaupation with, the sea, and with all: that the sea represents — either concretely. or by inference^ Thirdly a the majority of these, authors demonstrate an interest in the philosophical, question as to what.is life,

together.with its corollary suggestion concerning the nature o f .death* /

Escapism is characteristic of early Modernism.^ as wit^ ness: orientalism .and. Seandinavlsnism in Modernist poetry 0 On.

. this, point b o t h .d8Halmar . (La Lampara- en e 1. Mo 1 ino., La Sombra. del Humo. en. el. Esoejo ) and Prado (no collected short, stories) . ., . . , 36 can. .be . said to , f ollow "las linaas . generales'. del Modernismo o "

The desire to flee is omnipresent in . d "Halmar: . "Ruga. de.. la .

realidad asfixlante que para Si. es s u .tierrao Su literature0»o , . r : ■ ■. - ..37. ae'.evade, »aac lende a mundo s, transparent es'. y. sin aside ro-o v.

As. examples of this. :.0 hara.e.teristic, in d'Halmar, the following 38 quotations from his cuento ".G-atlta" may serves : ' v v ^ ^ Is; ;Gal de los muroa pareoia tan " • brillante-oomo an.un arrabal.de la Kasbah|.. pareclan. albornoses las mantas blancas, y una V: silueta, de mu j er es ourriSndo se-.. per la . sombre, : t : / ■ o -entrevista. a,.tra,.ves: de las^rejaa de una^izen- = : ; ; 7 _.;- tana llena - de ara.bescos9 haeia sonar con los . ' V-:v v' . harems, lejanos.o 0 = 0aun los torreones d e .. la .' • : ■ ■ : lgles-i3 ,, pareoian. preyectar..una . gran.'paz....sobre ; V - el.pueblo-,de^l^^ " tendldO:de las - ' , acerasj sobre sus petates? con la cara al ' p :: '.-lelelaw cGme,en ^el: extrem:, ::: - ; /-p p ;

V:; '' Se ergula. lentamente en el cielo la Cruz " , . . del Sur 0 o =. ® Y aauel plenllunle. easi e.euatorialj, p . con la redondez enorme de su luna suspend!da sobretnuestra cabeza., que dlfundla . una... elari- , ' ::p ' :: da&, esmerllada.p. tan glaclalpcomo e l , amanecer ■de un . pS,ramo 9 lo . bacla .todo Irreal con., su pol^ vo de vidriop de; sals p de escarcha* y me evo-. : caba las noeh.es espejeantes del Bosforo9 desde .. p ; ;fml .terraza » de .;iiouri=0sBianiS» o 6» .h1 ■s u - ; ■ ■; ' ;:: ; ■ p ^ ; ;pp : - : .. e 11 Cat it a ; ; ' '

■ In.. these, lines . we have .s,:1. nostg»lgia= like: evocation, of far- .. '

; ■ : off lands, shrouded, in mysteryg:' and, dream-like ,to. the, author«,

/•Later'on..in,-his. life, however,. dlHalmar. ws.s. to fulfill, some .■ ■ ■■ : /: - ; \. : d,p p - • : 39 ' d ' / .-: ' ; -t,: o f his dreams.-: by travelling to India ;., and. reality, rather

: Pthan: :de.strdyihg-sy ms.:.., to heighten:, his .dove • for. the., exotic.® .p v

- ’ The .influence of the.,s.ea... upon dflialmar and .Reyes, was. p.,

' . r highly important o The f ormer . sam the sea as a . transporter@ p :

•. ■ a. vehicle■ designed to. carry:, him to. distant..shores^ ' The lengthy

short story (or short novel ). Mar s "So .1 oeroman81 is really ,.a.

, ' modern sagao ■ The central, figure. Is the. ship,, around which .' ■

: ' revolves. the ,story ofp two. blond. Scandinavian sailors® Highly ■ ;p.,y:p;:

■ poetic. In both description, and. narratlon$, the book has adso .p:.

been, made . by dhe; .lmaglnatibn :of : the. author,Into. ,a..fletional,., ' p ,;-:;.:

■ ■ representation of his ambition„ Sgmar and Olaf are wandererss

led by a mariner’s destinyi their only end,can ibe becoming" . '■ : ’ 58

a part: ■ pi* that wlalcii ia uppermost in their. minti.s9 the gea0

To d Halmar the. sailor is an ideal being8 and his own. frus-

tration g caused, by a land-looked.' existenoe:S is,.all. too evi­

dent in Maro His whole .eoncept of the sea and" the sailor - - 40 . can be., seen,in the .following liness

Dlcen que. a, un aomento. dado de .la gestaciong el embrion humano. toma. forma de. pez y . nada. eomo. en un aguaje de marisma, El marino es el hombre devuelto . a su elemento:. primitiiroo El mar.9 que no es vivo sino viviente en cada infusoriod la mar que no po dria c on t ener un . alma 9 o cup aba a Egmar por enteroo ;• ,.Pero si. se pudren los cuerpos en el legamo , ' - de la tier*ra9 en e l . agua . disuelvense las almas o Por eso los marinos quedan inoapacitados,. para Igs negocios humanos9 como un galete que ya no aabrls servir ni.de. pie.dra angular» ni .de losa de ara, ni como oimiento de nada que no sea el ir y venifc del flujo* la pleamar$, y de la resacao . gMar.g

•.": Salvador. Bey es .( Barco,. Ebrio , Lo Que el Tiempo Deia * El

nitimo Plratao.Tres lovelas,de la Costa) does not view the .

sea in the wholly i d e a l i s e d way, of d J Halmar.o To him, the.

sea is a living being, closely tied up with, his own. soulo

The Words of Luis Adler 9 in “El Matador de Tiburones 3 11 could • ' .. . . ■ ■ 41 well be considered, to represent Reyes 1 own situations

— Sabre todo. me falta el mar 0 Arde su ausen- ciacomo una quema.dnra,$ cuya intens idad . de . do lor no podre encerrar nunca, en rnis escritos ® y.i»»o siento la nostalgia del mar hasta la desesperaciono £ ME1 Matador, de Tiburones,!j

Aside from .his. .psychological, treatment of the sea3 Sal­

vador Reyes is. an admirable painter of its reality § he is9

in the words of one critic, ‘run avocador de los ambientes • 42 , de puerto o11 . ■ ; . : ■■ / : 59

However.5,:. It must. not. be thought that Reyes is completely .

different from, d ’Halmar in. .Ms, treatment of. .the seao He ,too

is an escapists, dreaming of far-off places,o . G e r m to indi­

cates that Reyes .is frustrated, in his wanderlusts. as was. . . ; 4 3 . : 44 d 8'Halmar2 • which Luis..,Enrique Delano roundly denies o Reyes . ■

did, travel, yet there is still the: concern .with. distant. lands .

which.. is. found in. d8Halmaro Consider for example the fol™

, .. 4 5 . ' lowing paragraphs %

(Pericos, a young boy 9 is dreaming of the places he has only .heard of through stories told him by Luis Adler.) Solo9. anclado en aquel. p.uerto,. impotente ante el llamado. Inflnito, de . otros mares y . de,:. otras tie?*' ; rras&.. ,en. ,1 a . .tarde.p-.'c.omo .sobre un cartel,, escribla . ■ n ombre s. evocativos.s Mar.de Marmara, Smyrna, Singa-* pore 8 Adri^tico,, . Lucerna0 o -.. ■ X repetia este “Lucerna11., devorando con los., ojos el color..gris de. la palabra, gris de nlebla . manchado, de. nieve y su hueca. sonoridad. de campana olda en la noche, entre altas montanas de cristal obseuro, en una oonvalecencla junto, al, espe jo de los lagos.oo-o , - . ' ■ ; g"SI Matador de Tiburonesj

The third, characteristic, of the. ima„glnative. trend, in the

CMl e a n short atoiy is, the. .preoccupation with, questions of

life and death seen in, the cuentpso To Pedro. Prado s in

11 Guando Comienzan. a,Florecer. las-.-Rosas-9,i life,, isindefinable»

Moreover, like the rose, it is impossible, to remove.a.,branch

(psychologically) from man without hurting ,Mm.c, Prado, uses

this , line of reasoning to arrive at the conclusion that a man

should not allow, himself, to be come. attached, to any thing, . but

should. keep aloof and. integral,* The gardener ...keeps, his ,roses

intact since he is not sure where: he can cut them and still . : ^ : . 6 0 ' ' 1 .'■■■' i': "" ' - A6 ’ . . : . ' _ -: ' - - . ' / % - - , - malin*aizi itlxelr .Ilfs* \ : .v . : v.: -' x ;

';: Salvador; Reyes also.- believes' In maintaining the integrity

' ef;L#an o ' Agalm speaking through; the mouth, of Luis Adler he x - ' x - - 4T : .:■ •■ . ' V ' - : X'-. \ '■ ' ■ '■ : -

_

-V ' —=Si.go creyendo, que la uhlca vida digna de • ■ x no so tros esla,. vida s.olitariay err ante que. tu . • suenas<, To da otra existencia trae oonslgo pre=- ; - xd . : ■ • x: ocupaoiones mezquinass, ./indigns-s. de: verdaderos.. \ . ; : ■ homp-ese. . h " --,x-x x; :x \ ' ' x; x.-, /x rv': /-.x.' ■ '■ hxv ' •' ■g>1,El Matador. de. Ti.'burones.11^

To. prove, his poiht hereg. Reyes has .Adler* s love for Maria

dristiha, form' the. dnstrumenthof his death* ., v x ' x; xv.:

x ' • Another aspect of . the. nhiioaonhic note in isaaginlamo :is

.the 'Ideaxexpressed.. toy tooth Keyes. and.I)ela,no that life., is...to

■ toe,.; lived:,for its. present' value alone* xThere' Is. a plane for x :

eve^thiBg ..in.. Ilfe$.x andx It Xisx.fooiish. te: revive the . past s ..... ; ' . . '- . -- ■ X . 48 - X'/: ' ;• as one of. Reyes.1 ch.ara.cte.rs. remarks.o. This,’point is, repeat­

ed in t!Sl Ultimo Pirata” and 11 Un Poco de Vidas, ” tooth toy x

. Reyes* . In each of these -stories. the nanrator r.efle.ets. on

his,past 9 his early xchildhood.* •. . In addi.tion, each . narrator x

. is. brought. face to face with a woman ...who. figured .in his in-. ;;

. f ant .dreams* The. .shook of reality. in -tooth cases upon . the .man

serves.only to strengthen Reyes 8 belief that the past pannOt ” x -.xY' X . ; 49 X ■ ' \ Y xYY ' , ; . ; ’ ■ . Y toe. reoapturedg.. , ., p xx- . . ■ x ..- - p . *o. oVsiempre me apenan tales .rneinorias.s, pues.me.. hacen ’ peBsan.en la eantidad. de homtores..distintos^que..ha. . hatoido .en mi, desde. esa epoca. y en la .p.orcion de, ' ,. vidas sucesivas y . gratasX:. que, J he, .de. revivlr.* , xBurantepmchos..aEosxtuvedel^.,^ de, aeercarme' a, '.X:X;’,x * . x ;: unaJpersdna oXa un sitio que- constituyeron un des- . rcanso o una alegria para mr.g. toon otojeto de volvef , xx ^ .ge2 a r : -de. xesd alegr£a; y de hundirae de nueyo e n , x •. ese de scan so* Per© cuando estuve ante lo - anhelado , : ■ > apenas si . pude^ reonnocerlo-s, Tal. era la transform . ■ - mac ion quelmbia.suf ridola pe3?sonaS). el s.itio.y yo ; ' :' mi'smo'o Me convene!, al .fin. de que Ssta es una , . ,. .experieneia imposible9 y as! la vida me ha.ido dea- :'l . pe:Jandd;::de e i ' eamin©yp' ■' ' ; v : ::: :x ■ / : . ■ ' ‘ - , . Ultimo . Firata,!j . ' v '.. - ' The other members,, of th#.imaginist:-school#, - iMls,,EnrlK Pelano:-$ Juan Marins, Jaan .Emarv and: Diego Muno.z2 ; all. f ollow" ' one or,.•another of the . thematic 'lines, .already. eitado. . Luis... :;

Enrique Delano (la Nina de la Prision). is the !t p ip a hume an te ” wanderer, seeking — as did Reyes before,, him.. for belloS ' . (lu -v,:, : 50 1 .li: : - 1 - 5l:nv::i episodio,s'. fantasticos,, l,_ "gente de tipo extraordinario.,"

^historlaa de plratas y marines, <=««y temporales en oeeanos ■

, a 2 ■ ' ■ -::v E : : : pellgrosos^^/. ^ ,:. - .p.. .: . b-. Juan Marin (6uentos. de Viento v Aeua, Alas Sobre - el , Mar, '

:#aufragio) also . continues. the ReyeS:-d 9Halmar‘-Pra,do . line, of - imaginative writing, with, the exception noted.by Delano.that:

De ’ una imaginacion desenf renada0 0>ha derivado,. haci.a una - .

-realidad fuerte , un realismo, severo., quizas. duro.» d 18 Juan

Marin, also. adds. to. the .exoticism,. Of- d 'Halmar and. Reyes, "la .

;plntara.:.:de. las ,caracierescon,.tro,zb.a.;f lrm.es. y definitivos ;.. que parecen esbozados por Miguel Angel, sin apuellas penum­ bras. y vaguedades ..sentimentalea tan corrientes .en qulenes .. al visi tar un pueblo extranj.ero ae.. de jan veneer por la . sole-

dad. y veny mas que, escenas objetivas, el ref le jo de su nos- ; ' - \ ■■ ’ - ■ ■ ' ■- ' : - ' -• u . talgla,:sobre,,io. ,gue, Gontemplanl'. u .: '

Both .Juan Emar; (no published, collection) and Diego

Munoz(De Reoente, -Malditas Gosasl will be mentioned together-. v wiifch ^th©: : ’ : ; ":•>

: ,:/ ing this oneo . ;v; .; ; .-y' .-vy;' / X y . / y- - y-

W: off ahoot'pf. tW: imagimati^ ■' ■

' ajbozw« . Thls.Z.tToel<0f to-Zlms: been. taut little eulti^at,.ed: .in . ; /

.-• ofwI^tiavAiaeriea^'. Thera i.s. one/ oueB'tlsfa in. Ghil©,, how= ;

;%V: ' evera. who. has. entered the fieldt Alher-to Edwardsy^imifer the ' y ::: ■ y-vy;;-.. ’ pseucLonyra : of Miguel de Fuenzalidajo . He Is ..dplfke ytheyotheh , , _ :

imaginative writers, showing,# eharaeteristios ■ ; ■ - y

: ; ' y/h Edwards wrote.,"^entertain . ^Dmring yhis ...lif e y ' yy' y

i . ' Edwarde;: (dB78~1932) •published several of his adventures, of

. ■• Roman Oa.lvo ,. " El. Sherlo.c.lc Ho Imes,.. Ohileno ^" in reviews^. No ; ;;

.co 1 leetions have appeared-to date, , howeverg ..save the: Ameri- . -'-y :y' • /' :• -'• : ; v :-7 : y y : y y" vy y- 5 5 • .: - can •school text Of; Raymond L.» Grlsmer and .Mary; By MacDonaldo , y. -

Ihe-.. poppiarity: of ^Higueh de-'EuenMlida .and™that of. his herb,; ■

; y Roman 0alvo.3 haa only recently, be.eome.- widespread.,. . y y ;

The stories themselves are..quite interestingo Save for v:: 1 y' the. fact. that their background is.. Chile5 they couid;.have.

; • r ' taken place' -anywhere.. so universal, .are the events,o ;Fat=. y.' y ,■ :

terned.after: the,,short:atoriesL. of . Sir Arthur 'Conan. Doyle,, y y .y

. the adventures, , of ..Roman. Oalvo. demonstrate the use of indue- ■ ■ y

tiye reasoning;, in -arriving . at cpneiusions,o. :. : :

V-yy ; ■ To conclude 8 this' trend, in the Ghilean short story can yy

• •.■ y ," W^enerally. defined^as demonstrating a primarlly, fmaglnay;^^^^;^^^^,^^^^: y y

. . y. tive treatment, of..exotic .items (the sea, far-off lands,- etc,® J, y

: ' and. also of basic philosophic . considerations ^ . It is a move- • y ;:

ment;of escape, in some cases from.reality, in others y ; t . ■- 63 :

resulting from personal, frustrations..,, Alberto.. Edwards8 while

showing none of these traits, is to be consldered-an lmagi= niat as he too is. unconcerned with reality» .Imaalnismo had not previously existed in Chiles just as Modernism and. what it. repr.esents had not: been found to a signif icant extent In ha tin 'American literature prior, to Ruben Dario.® . Imaglnl smo is a new trend in Chile., and. it Is a. trend which, while,

slightly changed "by later authors9 has not yet "been sup­ planted or allowed to decayo

: The Origins of the cuento.rural in Chile.can be charac­ terized by three words; reoeption, reaction, and egression®

That is to say, there is. noted a reception of French natura- lism and Russian s oclo- rural ism, a reaction, against Modem- ism, and an expression, of nationalist pride® 56 . As Barbagelata, pplnts out, (quoting. the Venezuelan Ri­ cardo Urbane.ja).,. -the novela crio.lla- (or® to use different, terminology, the. socio-rural., type. of prose f iction) . in Latin

America is derived, from. Europe® In Chile, however,., the non- urban, short, stories..of de,.Maupassant, Turgenev^and. Tolstoy 57 : had a great influence®. These writers had all turned, to the. rural, life of. ’their .own .countries,'for. Inspiration®, Many- or. the: members of the Generation of 900 seek the same motivating source®.

■ The second origin for this,movement is, to be found in the fairly universal reaction among its.members against the excesses of Modernism °9 that ls.a its over^irtellectua,! and

aesthetic first period9 which-iound favor in the eyes of

d 9 Halmar.. and Prado . (as, we have already- seen) e ' On - this point s. ■ - . v : . 58 ■' . - ■ >' p Domingo Melfisays thatg -

La generaeion/literaria del, 9 OO 0 o.sr©ac8iQn6: - contra el.decadentismo de fines del siglo9 contra . a,quella. neura,stenia, que fue la caracteriatica,.. de ■ la creaciSn literari.a- - de - ese perlodo y que mareo c o n u n signo de eroti-sniQ. y de, tristeza a lo.s,, es= critores. que- la sostuvieron0 SI predomlnio de las d tintas. ’ crepusculare s, . el aristocratismo, enf.emiizo ' i .de su.s creaciones-5, en las,, que. hahla, reniinlscenolas' grlegas. y francesa.Ss ,-la...devoei6 n .rendida.,.a los, - - . , modelos de la. cultura.. del . Vi ejn .. Mundo .P la perver­ sion intelectualizada qua surgla. de u n . arn.bie:nte inexlstente^ creado mas. por la,, fantasia que. por . : la, .-'realidad g impuso en estas - Ohras una .lorma. que con justicia fuS llamada decadentsa Muohos de sus corif ©os. estahan. vueltos, haeia el pasado; y evoca~; - han-s, centre suspiro.s,j. es.cenas...griegas, y . arlental.es s . japonerias .. .distantes y suntuo.sldades.. versalles das-e Las herolnas reposahan en .lechos de. madera-: de,,pa- lisandro..a.": entre cojines . de. seda.j, detras. de . biombos de . lacag en los cuales vagaba,n.. extrar.os pajaros chinos ..y monstruos desconocidos en las regiones simples de la tlerra ainericanSi, Era el gusto de la 8 poca.0'

A third .motivating factor leading to the. development of

the Guento. . rural. was, the, growing nationalist . spirit current

around the beginning of this century.o In the. members, of,, the

deneratlom of 9 0 0 who cultivated the rural short.story.na-

tionallsm took. the form*, first of 6 .escriptions and .secondly

of analysis of; the -reality of Chile Q. That. is.£,- in relation ;

to this second, point/ forsaking, the a typical.:,,urban, aspect of

Chile they turn to what is typical and characteristic. of their

-■country s- its. geography, and its native population 9 . The . large,

centers of urban population had, in common, with those of other Qtmntsies-s' become cosinopolitan0 ^ They did, not reflect the v

soul. of. .Ghile-s, being rather a mass of. varied. but .assimilated

cultur.eB,o - Therefore^ as did . French- and' Russian .authora.a-

short, time,:, earlierj, :■ the... writers , of, the,, Generation, of , 900 in

Ghile: looked,, to that part of, their, native country, whichj, to i ■ . ■ r . . : ■ ' y . ' • ■ . use. the .expression, of Ricardo. So jasp , was autoctpnp* That part.g in. their eyes y consisted. of, Ghile,11 s. unparalleled:’,gap??-*

graphi,cal structure and of its own lower-class man^ the in-

quilinoo : ‘ -

■: Once, these writers ,had .turned, to the. new sphere.of,

interest s the short story trend towards soe.io-rural!sm sprang into being., ' Recognizing this fact3 let us how examine the. writers,themselves$, in general» Apart. from discovering (if we may .use such a word) the.: countryside, one point i n .partic­ ular must . be, .nQted. .regarding this, rupallst . group.:. 1!el. earaeter de uniformidad de, sue componentes4 ., la,forma, unltaria, da. sus ' . ,59 • ’ ' ' ereacion.es-®'■ ■ That Iso the, rural,, ouentistas...of ..Ghile,.were... of a single . social .class (the middle.) $, . acted under . identical motivation8 .8; and had, almost identical. aims.»..

' .ln....regard to, the.general-, aims inherent, in the writings.,

of the ruralistas,a.more precise.statement is needed than,has previously been , given hereo Fundamentally5. the, purpose of the

rural short . story.’ in. Ghile. is to bring to literature, a. hither­ to neglected aspect, of Chilean, life: its: non-urban reality =,

Concomitant with this purpose is a.desire on the part of these

authors.9.. parade xlc.ally ’ enough P to give their country men at

.once a sense of pride and of shame in their native landp The 66 paradox is explainad9 howeverj, ' when it is seen that while- exalting the epic grandeur of Chile — its men and nature -=- the, rural istas do not avoid mention of the ..unfortunate social/ and economic conditions of their country o . It must h e kept, in mind p however® when considering the rural trend in the Chi.h= ean. short story that its:prime:consideration is that,seen.in the first part of the preceding sentence,: Ohile:8 s epic gran- deur.o. Social interest®, necessarily^ will enter, the trendy but not so predominantly nor in so propagandizing a manner as was charaeteristic., of Lillo.® for example«,

. hature. and. man in .Chile , have been singled out ..as . the: themes, underlying the cuento. ruralo Three. distinct epochs are noticeable.in its development in regard to treatment and f subject matter. The .first; phase, i s. one of idealism |. idealis­ tic treatment of the inqnllino and of the Chilean countryside, with the writers in., this, period rarely going outside the central valley.» The. second phase .involves a wider, sphere of interest® geographically j, and a., more, realistic attitude, towards: praotl.cally the . same subj act matter of the. first phase 0

The third and. final epoch consists of, amalgamation of. the basic elements, found in the preceding periods.® together with the all-important a,ddition. of. psychological treatment.. That la % in this, ultimate phase an attempt is . made... by writers to express the reality, of Chile through inner examination rather than by means, of description alone«

Let us now examine . each .of the three epochs, singly® with a view towards .clarifying each individually | seeing their inter-relations | and. determining .the. united importance of

all three in the development of the Chilean short story o

60 * . According to 'Helfi.s there are. two basic. types of . writers who. are. able, to treat of rural, theme s. & the. city^ dweller. who

sees. the . country as would a week-end visitor. there s and the man, who. succeeds, in immersing himself, in rural l i f e t h u s

loslngg so . to ; apeak;S. his identity with the city». ■ That is,a

two 'posslbi.li.tles..are inherent, in :, any attempt. to. describe

country life.: identification, or non= i dent if i cat ion on the part of the. author with his subject matter* The truth of.

this observation is.. quite apparent , as. it . applies..:to Chilean v ruralistas* for without e%cepti.on.p, the, representatives, of this first phase of ruralism in the Chilean.. short story.

typify the non.^identif ication.: attitude* Howevers»... in.. later phases of ruralism., there is. noted-.an opposite tendency s i «e* a towards Identification,, of author, and subjeof*

Federico Cana y ,Cana.(1867=1923» accepting .Barbagelata8s

dates) 5. Francisco Zapata, Lillo (1877-1925)» Joanuin.. Diaz. G-ar=

ces (1 8 7 8 = 1 9 2 1 ) Bafael,.Maluenda.’Cb,- 1885) and.C-uillermo .

Labarca. Hubert son (b 0 1886). all. travel in the. central ..valley

of ..Chile 9 or in its. immediate... environs» In their .individual

journeysr each desoribes.' what..he sees>; and. there is a unanim­ ity: of content in their, narrations,0 Most important as far as each, author is. concerned is, the

landscape of the central valleyV Their treatment, of this \ . . ' ' ' ' ; ' ; . • . :6® ' ■ topic is. invariably idealized rather than realistiCo I n ,

additions it is to be noted, that a certain attitude.. is. inher­

ent as regards the treatment of. the peons by these cuentistas.

Beginning with G-ana,s the authors,, show an aloofness towards,

the people they describe— = such tendency tapering off towards

the end of this. phase.. Such .aloofness is basically what is

meant, by non-identification.^

■:.burning-■■■to.-- specific authorss. we.are able, to observe.:,the,

actuality of. these above-mentioned. ,c.hara:cte.rlstic.s..0 Federico ■ y ' " . _ ; / - Q-ana (Eias ,de , Qampo# Hanobas,, de dolor y Otros, Guenfos), is,:, the , . - . , ■ ' ' - . - bl - - . - . , first author to treat of.rural .0hile.» . Small in nuraber-.s, his

cuentos. are.'really sketches . of country, lifea small cuadrps,

de cos,tumbres„ almost 0 Idealisations primarily s none of these

' pictures, contains, the slightest .-demonstration,of any. socio=? •

. 62 . logical interest, on the part of, the. author0 His landscapes

are described/in glowing .terms,, and his characters, are all,

resigned to, their life 9 haring adopted, an attitude of pasaire 63 acceptance of their .situatlono 'Gonsequently,. It is.n.ot.at all

surprising that Ganas .the visitor^ should receive such con^

slderation from the rural people as the following would indi-

64 : . ■■■ ' . . , . cates .■ .

Cfhe narrator, observing a country-funeral9 asks one . of . the, bystanders for .particulars*... )•

quleu llevant. ^ "=Es .a la.Maigas, seno.r.g la hi,ja de.:don Manuel9 ei. que vive en las t! ires EsquinasH 9 me fespondiSg saedndose lenta y respetuosamente. su agujereado. • sombrero» ,■ . „ - £ La Maiga j ' This reapectful reply" Is exactly what'the situatlon warrantsP

■' IMlihe many of . the.: later ruralistas , the .authors’ f orming this

Tlrst: pW a # /Weohs Pionmly: :r h l t y . so o:ial.,,.p^ " - not attempting to place themselves on a level with the.-

peon:, as. his .equal, ' ': ...

.: - The lnquilino of G-araJs stories is placed:, in... a land- ; ■ ■:

; scape .typical,, of. the central, valleyo .. To ,the,::iraeationer,from

; the, city, both elements, become, oommingledg with, the paisa.ie .

: . gaihlng ascendeBcy..:oimr. the native,. In., G-ana$ moreover^

" every thing, is peaceful^-: pastoral t:;:tfiarely isthere found . y;: .

.^an^elemeht■^of. •crisi«s:ln,-lI.fe,K ,hor,ts:.Ma,hescriptibn;.;Qhwthe'‘': ,

; countryside: tinged wlth any aura ,of. foreboding; or tragedy

as often o.ccurs in later, rural cuentoso •. Typical. of. G-ana s

scehe*painting.fis the landscape seen by. the narrator,of '’La ;

Senora", (of which story p incidentally^ one writer, .has, seen,. .

. f it to say, that "hace. pensar. • que . en .la vida no todo. . es malo.g" ,

a sehflmeht, very .characteristic, of Gana ' s own philosophy.) i\

4 ambos, ladostdel, eamino,: se ,extendlan ..grandes. ' potreros.. ■sln- aguas : oubiertps^de un pasti.llo bianco ■ . : t,' . que • heria.-.Ia . vlsta.^ y donde lo.s.. ray o s., del sol, re- verberaban con fuerza-o, .4 lo lejosg la :eno.rme .mole violacea de...los A n d e a -despo jada de..sms.,niev.es9 emergla con, vi.ol.enta, clarldadi.sobre un, cielo sin nubes 9 pal id o y brillante.o. » = aA medi.da.. q.ue. avan- ;■ zaba yo s el paisaje pEincipiaba, a. varlar.» Anosos •. ; t ' alamos, y sauces, daban sombra. al eamino., .divisaba, p. ver&irag- oh^caras,g ,pastales . d.e : trebol.g. animales ,: v ‘ ; ■ ::vaouh©s 9 -paguas.;CQrri©ntes:* » Be cuando ,eh. cuandOg . . ^ ; tras la alameda 9 • asomaban a 1 gunos.humeantes.-ran-P ■ chos de inquilinos © : , , , • , . ,. .. , . - : . ■ : c ,,La,3enoI!a‘a:; y- . G-ana's basic .characteristics ban be seen in the follow-

; thg ^quotation from Melfi s t";- ■ " : .;t P Pp-tp pp- - , Eia Federico Q-ana ae enouentra. una coxiGieneis, del estiloo Parece.conveneido de.que hay que embe- ileeer la realidad preoariay doXoroaay.no 'fee= nirla. .demaalado con el negro del pealini smo« . Es su ■ poatura .natural^ hniaanae Sana no. habrla. podi-' . do. enepntrar problema alguno que resolvero Y no le. haola. falta.e Era un temperamento dulee9 su8 ,=« Yement,e . 8 /paslonado a tranq.uilo,o Seguramen.te. rio alguna. vez en los oamposa-. eseenas duras .y repul= aivaso Pero desYlb la vista para no deaoomponer s.u interna. serenldad jo o oatemperS : con: la finura. - de= su .personal, marie.ra9 la asp.ereza... que ..habria :. ' sldo Idgica en tal. caso <,. Y sin embargo @ 6 0 qui- to realldad. a. la escenao Q-ana sabla -eatablecer . , entre el oampo y 6 l o me jors entre la obra y el • leetorp una.. zona pura de.. expeotaclon; emotiYao. p

Federieo Q-ana. does, of course, refer to ■ problems. of . the .

inquilino (esgo "La, Mai.ga," or “La Senora1'y, but he is always, 68 ,. . ' ■ ^ ; ' in the words of Latorreg "el hi jo del patron qua reoorre eon

su escopeta y su perro las veredas del fundo, s.e eonduele.

sentim.entalmente de la . misera, vlda de sus inquilinos y peones

y los olYida, apenas torna a la olndaxU11

Chronologically the next writer, to turn to rural Chile

for his inspiration is. Francisco, %apata, Lillo, fDe Ml, lierra) »

Most important, however, concerning the,works,of.this.man,is

the fact that in them neYoea nor primera vez, en, la .literatura ■ ■ ; ,69 ' chilena la vida de la, eordillera0" Otherwise, the cuentos

in corporated in Zapata,Lillo 8s collection show the, basic char­

acteristics found in Q-ana! a writingso The scene has shifted ;

slightly s from the central valley to the Maule region j, but

the traits characteristic of this eooch in the . euento, rural

appearo ‘’Vlllar,’* the story of a noble peon with whom the

.author.has become acquainted, can be taken.as typical« To .

Zapata Lillo $, Vi liar shows only deference 9 realizing (acGording to the. author);: that. thia is a. man from, ahigher sooial.planeo ■; fhe nohle■ huaso has :eohfidenoe in the noble ; : ^^ 70 — > vt-.- - ^ , man, from,;the., city s ,; : , ■ ■. v: v ; • y;

. ; — Patroncitos ten go una oosa que decirlec :y;Xo. se que me voy a : moriro ■ Si me inuero..9 no se - :v • divide: de mi. ^'ghaohitOotl:. : a . : : • .■ y;; V; ^ ;y y

:y : Joaquin' Diaz G-arces is the third.■ representative, of this first. phase. of Chilean ruralismo Under, the . pseudonym., of '

Angel ,Eino, his only, collection', of. . short _ stories.o’.Farinas . .

'Ghiienas o, was.. first published.o,.:. One of the oueritos Inoluded is - Juan Heira.o": This, story Ccontemporary .with the works. ' of G-ana) is interesting .and'typical,of. the epoch, .as the author demonstrates. the identical,.attitude of aloofness. 71 noted in both G-ana, and ZapataLillo, for .according to Melfi

:;7 ^'y.v®n, MJUan>.'lfeira9^>.* :.^y: ' y. , ' y;::-'". ,y El .camno no.. sugiere. dl, visltante , letrado sino ■ ’ ■ reflexion.es.. senfimen tales.: o bien.liri.smo, o me Ian- . ' oolia.o. > Eai el. hombre de , la oiudad. que . se dlrige a pasar .una, tempors,da. en^algun . rineon montanes ;: qjie paseaL: a;, Gabaile,:. acompanadb ,;,de. un capataz, o. de. : un pe6ng,- se mezola/.en lo.s, traba^ 1 a, haoienda.,o. los observa con curiosidad y vuelve,. al comenzar el otonog a la •eiudad.s a;, continuar. sus estudios o ,a ..reanudar: su... .vida buro crati ca» En. la, oiudad yewca-ios vdias veranlegos do -o 9 las excursiohes 1:. alegreS y surge. asi 9 poco a. pood la imagen .de un cuadro,,. ' ' y . .' . .' ; Juan^ ra% as a prototype of the 72 rural capataz, — as the ruraiistas would ..envision.. him :

’Alto 9 desmedidamente .alto./, aneho de e spa Idas 9 _ -___■ ^ , n e_.0 ^ J 3 _ *s __ _ , __ — r a pesar. de ,su inclinacion y. de las curvas. de sus : -piernas amoldadas al■ nabali© $, podia pasar Meira ;.d y •; " . par un hermoso y es.cUlturaimodelo.. de fuerzd' y 'de, - y . y vigor*, : . . j'-:; ■■ ' ■". ; 7 . : , h . Energica la vo.Zs,. decidido el gesto, franca la , . . ’expresion9 jque encantadora figura.de huaso valiente • V f, leal tenia- lelraf; - ':"' VY:'". - '\ , : y''Y' V y. ; ,.' ' . -v y /y: - ; c MtTuaa H e l m t!-3

:yAs :we;:ean;: ae Dia.S-:($a^ses■■dbaa, no't, / : to. .restrain him-

y self In:.his desorlptlon.o This 'melodramatic . attitude.■ on. his

part. is. even.. more pointed.. .when 'Kei.ra.,:is .he.set."by . five,. bandits 9 ■ ; ... \: ■ : : -i:-' ^'V; 73 „ . .and9; .after killing.; three*, is himself mortally wounded i : y ,

-- # Aseslnoso .^-alcanza a. gr.itar.s I In fames! " - ■ -;7 iGo.bardeSo8 -j'y nueda por el..smelo9 al la do - de. ' los tres oadaveres que no valen Juntos lo .que. y' . y vale una gota -de sangre de: ese hSro@s . :y ■; y y ■ . ; - - ;:y.V yy-., : . " ' " ■" '■ ■ : ^'duan Helm^a ■ . ;

Besides his preoccupation with rural. Ghlle, Diaz G-arces

has ...written some:. stories.; in .which,..a .certain amount of humor ,

i s. a,pparent.o. Thus 9 .'‘ j Damian^ . Yen ! (0. Sea Oomo MeEobaron. - Mi

Maleta).!.1’ is entertaining .readings narrating as it. does. the. ;

adventures.. of an imp re ssl.onable.. san fiaguino in a . rural .inn*,

A . sly -country gentleman tells, the traveler that his room Is ..

haunted.^ and that any,, change of position or any. movement- on

the part of Ms.. suitcase- bodes, ill,.for the life of someone

near, and dear to its-possessor,® Coincidentally enough* the

Gl.tv-dweller 'has..a sick novlao For this,- reason9 when the

suitcase not only: moves 9:. but. disappears,' completely.^^...ita.-: yy ::r

p esse ssor immediately return si to . the.. ,c ity a only, to f i n d . his

'sweetheart . completely:, cu r e d ' W i t h : a toucli. of irony * Diaz , ■ , - 1 y.l ^ ' I'D-/...lly ■ . 1 74 .Saroes has: hia. narrator.say: at::, the. end., of - the; st^

. Esto no ,me ha dolldo tanto a, porque novias hay <,, ,'Bero i d6 nde encontrare yo. una maleta de 1 . ' v-;. ■- ’ cuero de ehancho corno aquella?. . ■ . ; ' ■ ;. • " ^ g Damian*, yen!"-g, :

I;-: Rafael Maluenda {Esoenas.de la Vida@ los Qiegosfl Venidos ; v 73 a--MenoB,0 La Gantinera de las Trenzas Rubiasn. La-.Bacliaaha..

QolmeEia Urbana)-o among the.,, writera in this phase^ ia .-lmpor™

tant in.. its development for several reasons^ His writings,

mark, hoth. the. climax .of the , first, eppeh. o f .. the. rural, short..

story.j and ...a. .slight, transition towards the. se con d e It has

been said.of. Maluenda. .thatj, "da., la , impre a ion. de. aoercarse

al camp.o no porque. le in teres e aino. porque. la. mo da, lo empu- ' ■ : 75 'd- •. ; : ja por ese, lado9 . and it is perhaps for this reason ..that his

ouentos conceivably could refer.to the city as well as the

country : -

Basicallyj, Maluenda. shows certain, evident characteristics which give a slightly new trend to this, phase of the short

- story o His interest in . landscape, for its own sake. is con­

siderably greater, than that of G-anag tending toward the,

equalization of man. and nature, to-be seen, in the . second,

epocho Incidentally s. the "man" of... his.. .contemporaries becomes

the. "woman" where.Maluenda is, concerned,. . St . any rate,. Rafael

Maluenda "tenia., pasi on por lo ques. a su. juiclo,g represent aba,

lo mas. chileno de.. su. rinoon. native & la mujer y el. campo ; para. .Si las, dos mas, amtenticas fuentes de una emotividad 76 e s eneialmente raolal«l Equally important, in Maluenda is.the additions at times, 77 ; . ; of a tragic n o t e O o u p l e d with this, is one. of emotion,

frequently violent in nature^ Apropos of this, point,, it is. z 78 interesting to note what Julia Q-arola dames , has said regard­

ing Maluenda "s influence upon the fair sex i "Maluenda es un Tiolemto y un apasionado oonaciente^ tiene to&os ,los impulsos

del alma p.rlml tlwa e lndls<3lpllnadas y nada . eoge mas a la

mu j er que. ea taa suges tlones obscuras s,. que @.s.te. .aoento g u t u m l ,

eon.el asomo penfldo.de las.selvas0" This statements however^

should be taken with a grain of salt9 as Senora Q-ames 8 erl.t»

1 qIsms are more:than onee tinged with an overly individual­

istic point of vleWo.

Maluenda9 in oommon. with. Ms. fellow rurallsfas.o eannot

bring himself, to Ms. sub ject, matters he cannot identify the

.author s personality with that of the characters in.his

stories* According to.Armando Donoso: "Maluenda tiene en •

muy alta estima su aristocratismo intelectual. y es demasla-

do pulcro. para, amar a ’ la gente. ruatiea:. tal y como es 9 soca,-

rrona9 ruda y groaera. mas.que idealista y dada. a'amorios..

sentimentales.* La adivlna y la compren.de a. traves.. de un tem=

peramento sutillzador9 aflnado. en las. mas opuestas corrientes

llterarias.® 8 u.s .personajes_ tienenp pues . el caracter de

variacionea vistas, y sentidas conforme a un caprleho dema=

siado artista para ser.real*"

A combination of these qualities, may be noted,in Maluen­

da 8 s, rural story^ . "La. Pachacha.0" Both .tragedy . and. emotion

are found throughout its pages* yet tinged, with.a goodly

amount of sly irony* "La Paohacha" is a delightful.allegory,

with hens and roosters replacing people* The protagonist» La

Fachacha herself 9 is a chicken of indiscriminate, .origin who

one fine day is placed in a pen with the aristocracy of the • : : . ■ % _ , 75 chicken yardo Here■ e,re the Leghorns9. the Rhode Islamd .Reds9 the Orpingtons 9' the Plymouth Roekss etc.o The common Eacha-

cha. issnubhed by all her first day there 9 save for the

Japanese chiekenSs whoy in the words of . a,. Plymouth RoekP

"aeogeii a eualqulerao ” . As lime passes^ however^ the encomi­ astic , Pachacha insinuates her way into high ..society,9 producing ultimately a brood of: showy.young chicks0 At this point, ' ' ■ ' 80 : • / ' ; Hachacha 11 s, hopes are. fulfiiied.g'*. . ..

o o.oella; y su- familia. ..figuraban @nt|,e las finasj, sus polios luclan plumas selectas j hahia par fir reali= zado s u s u e n o d e gallira arribista, - - c"La, Pachacha!!^ • ■ but. there la moreu to the storyo After she. has succeeded in marrying her offspring into, the best, families^ Hachacha. one day. witnems ..the arrlral of a chicken., from..her. old. pen*, Ar-:. ., grily she attacks, it.retiring .only when her adversary with« draws g wounded severelyto- a cornerV " Oomplacent 9 her only . 81 commen t i s g.: < ■ --Asi debt era tratarse a eate.s. gallinas in so­ lan tes que no se acuerdan de su origeno»® . fr**ha. Hachacha*- - . _ . . : 82 3 on which an . old Rhode Island tied..comments tersely : . ;

=—Hasta entre las gallinasr no hay peor cuna que la del mismo palo* ■ _ g " ha . Haehaoha Pg .: .

This fanciful, stoiy of life, in a chi eken-coog is 9 as mentioned.^ an allegory* That iss its. reference to. actual

society is implicit? requiring only the substitution of

"man** and **woman" for "chicken" and "roostero" One does not 9 howeverg perceive in HLa Fachacha" any special : maqi&logica#L.. , the a,uthor9 ':as: with the .,-

cuentos, of Baldomero Li llo:9 for example« • Maluenda even pokes - 33 flip at the-,Ghl,okeD*ya»rd,.radloals.:: -/ . . . . • ;;. y :

■ De. prontos- un polio sindleado de so elallsta.9 . : : ' . -;.laph6 _ah \ Ih'-vf- '- ' > ;y; . ““ «Al: f in : y a,l . oabo.. todos venimos- de:- un huevo j • ■ ':; ::. . =?jOllleae elL-demporatal.-;^ : - ' ““ho sxay .por’ Ideas -r= aflrmo el polio — , aun- .: que ml ,£amilla,-. sea - Plymouth0 ' j Todo.s , venlffio s-. de . uh. ■ simple huevo j . :

. ' graola' apimto la mas^ de ; 1 ^Vv;. ‘ las Ohpipgtop ■— ; pero. haj huevos ' de huevoso 1. , ["La Paohachaf,j

: lo oonelude^ It Is Interesting to note what La,torre.-has ■:

sald;:he@ardlPg' Malmehdala/desohl|)tlens:ef ihral'vGhlleX - . tjni

. iloptupately $r /there: IS,' a/ sllght tendency evident,. on Latorre,: S part to ',he,.,okeriy.;: possibly reflecting a lack of

sympathy with Ma,luenda.'s style, or the contemptuous. .attitude

of one author.towards another.not showing the same, charac­

ter! stie treatment, of. subject .matter: ■ " ' . ^

>;■ ;" - El., oampo de: Maluenda es. un, oampo llterarlo ’ • . y estilisadOo La, innegable haloil^dad tecnloa del ,/ ■ es.eritor. haee aniena. la esoenografia y f Inge , una ;.:. -, : .

■ ■: V -: realidad, n o texlatente^, - . t . : A juzgar por sus- .eonatos.:desoriptivoss, el ; oampo:. ohiienose. compondria , de alame.das y e.aminos ' " . . V. polvori.ento.s.5,. con amaneeeres y atardeeeres deco- '. ; 1 1 ’. ratiTOSs Bin pEja,ros ni ^rboles Indlgenas 6 Algo :' : a si oomo un padsaje entrevi sto desde la, ventani-. • .-'V ■ t :lla:.,del thenar: 1 : ■ ’ : '. ^ - - \ .1 85 :'t d'"' - / '' " :: It remains for Bono so, however 9 to observe the 11 why ? 11 for:, -

Maluenda ’.s. treatment.r Su arte es arte, . en, el . y a . trav.es. de

• 'Slj.:,. busoa en las . eosas.-, motlvo s' de belleza.,.. y donde no. lo s

..:ha y se.:esfor.sara..pbf .,.enoont3?arlos».: a pesar de :todo;9. bor- ,

dando arabeseos y bellas ideologiaso De talmodo, sus eampesinoss, bomo el, meidiop son.mas interesantes que reales s

y. mSs .estStl..aQS'..que veridiGOSo coo"

Tunning, to the last writer In.this first phase of the

rural. cuento $, Q-ullle rao . Labaroa Hubertson $> we ean now note

eertain. tendenoles signalling the. ne^xt epoah* . In addition^

the stories of Labarea Ho (A1 Amor de, la Tlerra) Gontain

elements,, reminiscent of. Federl eo . G-ana c Idealisation. of

landscape is yet . evident$, but against this. background are . ' . , - ' •, ■ • " : . 86 " plaeed real . people.^ ; In the; words of .LatorreP Labaroa. Eo • ' -

^logra.dramati zar.la e%lstenGia.de los,Inqullino s,de lo s fundos del -Valle, centrals, y nos ebnmueve 0-«»=il We can observe

something of this rural 11 dramatizatlorM contained. in ; La.bar.oa

through examining his. cuento* "Vida del Oampo.oil In it9 the

beloved of a, young inquilino, is sent by her father to the fleshpots of Santiago =- a not uncommon oc.curren.ce 9 i f . we

/ : ... - are to believe Joaquin, Bdwards. Be.ilos. in SI. Roto, Gharac-

teristio of this first,, phases, however9 appears, the attitude of non=identif loation o La bare a is the, city-dweller, on a. week-end vacation5 ,.observing., but not being greatly affects

ed .by s, the tragedies of rural, lifeo This attitude is evi­

dent in two quotations from, *’Vida., del..,d,amp.o.» M The author is

on one of his. vacation, trips , to the campo when he meets, the

young Inqullino.9 who tells, him -of the incidents In the first

citation is indicated the author's mental state before he

hears.of the young girl's fate9. while in the..second we observe

how the news affects,him« Ho more explicit intimation is ■ :■ "■ ' ' ' / • 8 7 given as to the importance of the event in Labarca5s minds El cielo. estaba azulj a lo lejos balaban plaeent.ema las .Qirejas I u m bandadade trlles. paso grltando^ara ir a perderse ■ en los carri- zalbs y . el: PeSon parecla can tar una tonada, muy : a l e g r e o; o o'.. ' ' ■ ■■ ' ' ' o.oo ■ _ ^ . • . ■ . , El clelo eababa.i-azul; en el corral, una . oveja re.o:len parida balo las tlmammente y el zumbldo del PeSon semejaba una tonada trlste 0»o ' C 11 Vida , del Gampo.' j

Summarizing briefly the . .basic character! stica of this

first phase of the euento rural „ we . note two points: a. lack

of mental and.physical identification with the subject, mat- .

ter — leading-to idealization, in. many instances . and a

greater. interest in landscape than, inhabitanta. on., the author.8

parto Added.to these points are other, lesser ones, such as

humor. (Ironic or otherwise) as, in Diaz. G-arceS g and a modicum

of sociological interest, seen in' Maluends,and., Labaroa, Hubert

son* .Eihally.,. plot itself. is not important, the. appeal, of

these euentos residing primarily in their descriptions of y

Hature»

• 6 0 fHE.. RtJRAh,.BTORg.:— SECOND EPOCH:

■ The second.-phase, of. the rural, euento. in Chile,is an. out­

growth from the first, a new directiono While, ouentistas,

still, continue to contribute ta: the trend,ini tinted, by. Cana s

otherss in larger numbers, seek a different mode of.expres­

sion » ' " ' - Mariano. Latorre . Court (bo' 1886).and Fernando Santivan ;

£ real name s Fernando .3 ant Ibanez Pugaj (bo 1886), the. major

f igures ^ of this epo'ch, felt that-G-ana, Maluenda, Zapata. Li Ho. and the rest had not suceeeded in presen tang OMle. as it should be presented» So.the new writers3 the former ones had not gained a full understanding of. the panorama, o f .. their native.. eountry s nor had they yet expressed ' the Ghilean. heart and soulo Therefore s, both Bantivan and Latorre s followed by

Garlo s Acuna (b o 1 8 8 6 ) and Franci sco - Contreras. :(1877-19'52.) set out to give a new form.to the subject matter used by their predecessorso They were going to add a new literary dimen­ sion and scope to rural. Ghlle-o . ' . •

This aim was accomplished, in a humber of ways* One of the... first .' things , done was “ to., change the way of treating landscape,® From the: imaginative they turned to the realistlCc . . 88 Of Latorrej, Lula Alberto Sanchez writes that fles uno de los m£s enterados,an materia de paisaj e chilenoso»Qy conoce de memoria la nomenclatura y filiaelon zoological botaniea y

.geologica.j, de su .tierra .chilena,®H These authors were not . . content with a vague description of what they saw, but could not be satisfied until they had in minute, almost photograph- ic., detail drawn for the reader an exact picture of the scene before their eye.So

. ■ . Mot in scenery alone, is attempted, this accuracy of de­ scriptions but also in regard to characters0 At this point in the rural short story both background and. actors become equally Importanto .This,equalization9 it will be, remembered, . was intimated.slightly in the works of the posterior writers of the first phasea : V ' . 80 : The inquillrio. fl hua.ao ;8 or baqueario has gained a hew sta-

tus« Lat-orre. and his followers, now-recognize, his Importanceg

and. are. also...aware, of the literarj possibilities he offer s.

shall, see.s, are :bnly .partially su.e.ces,sful<>.

letg in the .minds of. .the second-phase, rural!stas.0. the

mere realistic description of country lifewas not enough®

Something was lacking in order that a n e w .'. container , might .be .

created. for the. old, contents.o To. round out their efforts 9

then 9 they discovered what had., been either la,eking complete­

ly or only slightly, intimated in the works, of . their prede.ees-

sor^o Previouslya the scenes of rural life had been just

t h a t l i t t l e pictures done in the style of ..Millet <> .True. :

drama, or. nlot was almost non-existent in the cuento ruralo

Only a few stories,by Emaz, Q-arces or Maluenda possessed an

intrigue, of any real.llterary merit q :.:

Observing this" lack: of dramas the r u r a l ! s t a s o f . the

second epoch found what they needed for. completenesso

Consequently s they saw to it that the. realistic .f ramework...; .

of their stories, contained a story 9 tragic., or otherwise,;,

serving to support, it o This, was- accomplished in, two way si

acute observation and narration of rural-life incidents9

with all their :concomitant.details and implications j and the

addition of an •'fepicM note to some stories<> In other-words?

the authors in this phase , went to rural Chile and minutely

observed its lifeo..; -Qounterpoised against this, life they placed. KaturSo As "did. many of their Latin American cont,empo=

raries s Latorre, and Santiiran saw the. struggle., between Man. and

Mature that Is Inherent, in the. country 0 As a result8 they

. .sought: to express this conflict0. To do so neeessitated In

addition, a portrayal of a supers Mature., and a. supezs-Msm# •in

order that: the • fall Impact of such a struggle might- .create.:, .a

strong impression on the reader <> power..: of thought, and .expres­

sion,: was . desired, "by the. second-phase rurallsfas^. To. achi.ere

this, they put themselves completely, in the milieu, they de­

sired to describe9 forgetting almost completely their city

background*. . ; Before., continuing with, concrete analysis of each authorg

as he helps, form this. phase.p It is perhaps,.necessary to point

out - thats while:all of these men show some interest in social

p roblems- .( even, as, early as., Maluenda.} ,s,. none, of .them - he si tate s

to subordinate, sociology to description* The. depletion of

man 's, struggle in rural Chile against the. forces of his envi- '

ronment completely outweighs any moralizing or propagandizing

aspect they.. might present,* . In comparing Latorre. with Llllo

two equally true comments could be. made .s that, the latter .wrote

the same.type of criollista, story, as the formerg only mini­

mizing. description 9 o r : that. Latorre wrote the. same, type as

Llllo/ toning down the sociological,aspecto Both statements

. demon.strafe, the fundamental,, di.f ferenee not..only between . the ■.

two authors* but also between the .trends, that each represents*

Let Us now»analyze the writings of the four second-phase . 82 ru.gall.stas mentioned aboireV

Fernando Santlri,n.s In 1909s pu'bll.sh.ed his. first coUeo-

tion of short atories o Palpita.oi.ones . de Vlda.o Raul. Silva 89 ' • - . ' '■ . ... . ■■ . . . . . : ■ ■ Castro.j, speaking of Santlvani a. interests, as seen, in the hooks, points out . hows . 11 Le ocupaban por igual ,los afa-nes simples de

la vida del oa,mpo.9 con sus tragedian, seneillas s y la. exis-

tencla . amarga. de. quienes sienten oernirse sobre su porvenlr una inquietud y un delirio0a In addition, the book was writ­

ten "eon amors eon cuidado del matlzp j es. fruto de Una., medi-

ta.ci.on sobre la ruina o. la gloria de. una. existenela,s frente a. las: fuersas. ©cultas. que modelan el destine y haeen de los • z , ■ 90 hombresg o. prineipes o. mendigos*111 The title story of his. second book (En la Montana) is.

important, as regards Santlvan8 s.. eharaeteri sties.o: In .,1Sn la

Montana" the author, takes, us to the, eordillera for the first

time since. Zapata Lille, (in "Villar") 0 His purpose, in going ■

there ,is. identical with that of Latorrep later .on$, in Puna

de Condores t the search for a new9 undescribed type of Chil- 91 ■.. . _ _ ' ' . ean0 ' Likewise P. in. San ti vans En la Montana q "la rota epica -. ' 92 " . es. l.a, predomlnante.^"

■ Returning to Palmtaciones d e . Vidao in one of the stories particularly we can note the .sense of tragedy and use of .

tragic material distinguishing Santlvan from the writers.in ■

the first ohase of the cuento rural $ In " % Era ta,n Lindo 8»ooS 16 ... . - 93 Santlvan describes the woman telling of .her son8s deaths

Seeo una lagrima y en seguida empezo a hablar. V '' . 'V; . : : ■ . ■ . ..■ 83 preclpi.tadaiiieiii.e.s, a contaffilo. todoj, dejando esca« • pap.sus paladras.coma calor de horno encezrado al. , que se 1© abriem. una salida. g en un an si s. de desaliagap, am .peeho-s, de. oompartir su desgraoia " con alguleng tedo es© pequeno mundo de misendas ■ quo se va acumulando hasta que pare.ce hacenla, estallaro ; ' ■ } ; - tan Linddlooe^J Sant Ivan,, in short, marks, a differing, attitude^ a new

trendp in the. rural short stoiy9 to that exhibited by Fede-

rie.o .dahag for exampleo\ He has taken the '-tragic, sense, of ;

life" whishp when dealing with. the,.conntr^.g hi a. predecessors

chose to gloss over, and made it more prominent in his nar­

ratives,, .... ■ ■; ' y

Mariano.. Latorreg in his many collections of short sto­

ries , off e r s a richer-, field', of exploration than, does 3anti-

. van0 Listing Latorre 8 s books ehronologicaily. (as does Magt- " • ' 94: ■ • . ' y - : : /y.:,:.. . . ■ : : ::.r y ; - . , yy., : da 4rce j 9 we" can see the., vaatneas of his outputs

1912 =- Quentos. del Maule .. . - :i 1916 Quna, de .Qdndores. . 1923 — Ullv y 0trashovelas.del Sur - . 1926. Bus Meyjores Quentos (containing some.unpublished short stories) .La.; Qonfesion.. de. T.oKnina ., 1929 — Qhllenos. del, Mar 1933 — Hombres . en la Selva \ ' ' : ■ 1935 — On Fanta (Los Gerros) \ . 193.7 °°. Hombres v . Zorros .. '

to.: which ...can be added Yien to de . Mallines.. (1944) and Puerto

Mayor (1945) o Observing this list, one can see the. number.

Of regions which. Latorre has used for background0 He has-,

; travelled from, the, oordlllera :(Puna de. Condo re a.), to the sea

: (dhilenos del. Mar» Puerto. Mayor) s and. from the south (Ully y

• Hombres y Zorros) to the north (in scattered storiess such as 84

^El Finado -ITaldea” ) ®

Helping to define this phase of the rural euento. is

Latorre's aoute observation, and realistic description of

G M l e in its varying aspeetao ‘‘En acSltud que ppdemos

rela.eionar.oon el metodo de Azorin9 se detendria a darnos

la notioia. del. no.mbre.de un arbo.l.9. el. da to d e . la .pecul la­

ri dad del huasos el. color, dre un artiollllo cualquiera, en-s 'V, : . 9 5 " ■ . eontrado en un1 reeodo del .oamino.»t$ Tbe truth of. this state-■ ' ■ ' . i'. - - ; . 96 ment is all. too evident in .the folloMing passages s

Hegras:p rojisasp manehadass' de hlrsutas erines revueltas9 las yeguas trillador-es mas- can los Ciltimos tallos del rastrojog tostadp . por el solo Alguna. levanta la cabeza.angulo- sa hacia la vinas no muy lejosj, atralda por ' la erespa verdurag en la falda quemadao Elsa' , alegre de pampa.no sy Lo can tan los zorzales s . los negros tordosg las tencas charlatanass revoldteando por ..sobre los. raeijnos. en agraz9 a pesar d e l . espanta jo. que abre sus brazos . tie.sosj cargsdos de harapos9 en medio de la . ola de inxaovil verdura, que cubre. las tierras ■ ■ obseuraso , ■ ...... ■ T "-Oulpeo. Borraeho"] ". ■■■ ' '■ ^ .' - - V /y 9 7 . Su^origen c ^f^hring . to. the . Ponton #53 se perdia casi en el tiempo.o Tan to .s anos per-- mane.clo en el mismo lugar de . la bahla^ su jeto a sus boyas 9 eabeeeante en las. mare jadas. o ; ; dormido en un mar inmovilo Las gaviotas j • gaviotines chorrearon: de bianco su viejo castillo de popag convertido. :en^ bodega» La. proa al Horoestes donde persistla, aun el mas.ear6n.9. una rel.na. de ondulantes. vestiduras que enluto el polvillo del carbon de piedra, desafid los asaltos del viento o la baba .rabiosa .de las .olas.. del EatreehOo'

■ ^ Suoedieronse. las boyas oomldas por el. orin y el casco permaneeio .inmutable0 Luohes. de largas.. laainas .--verdosas le creeieron en la linea. de f lotacion y choros y pi cos vivi.eron y murieron en los angulos de su quilla9 0 0» ■ £nEl Ponton lo®; S'j 85 Mariano La-torres, when he - "began to writ© M s . euentosV

airO'wedly took as M s c M e f . aim. that of Hpintar. to do Chile s

desde; ,1a, . cordillera con 'sus arrieros y "baqueanos:. hasta el •;

sur con sus oMlotes y maulinos na^egantes y los indios del ; . ' ; , v ; 98 ' ■ : surs . herederos de los. changos Pescadores 0 I M s he has done

■ so far in Ms. writings o' ' '

' At t M s points - however^ let us, turn to one of the most

important aspects, of LatorreE s worko. From M s first to., Ms

last cuento regionalism is. apparent» More important than

tMs.g thoughs, is the fact that throughout his stories s .

'’Hombre.s y paisa jes. estan fundldos o i 0» El medio, barharo - . ' ^ ^ / ■" detemlna un tipo tambien elemental. , y. logicamente, heroioa .

■ ■ ' ' ' > ' : : ' / ' ' ; ,99 en su lu.cha eon la naturalesa.s : sun ,no .conQ.ulst.ada.o . ■, In this

respect P and also in regard to his regionaliam5 Latorre. can . be cQmpared to the Spanish novelist Jose Maria de Pereda$ 'for :

"Oomo pereda,9 Latorre nos proporciona el sentido. del paisa je

como Centro, de la; aceion en qua lo.s. persona jes. no son mas

que 'medioa . subordlnados a l . allento podero so del: alma, de la

montando P ere da es. el paisa jista que . evoea ..emo c ionalmen te

su . amblente regional^, . Latorre b o s . - da tambien este ,sentido - ’ ' y c emo clonal, del paisa j a; eriollo$ no ya circuns cri to, a lo s 11=

mites, estrletos: de una region determinada como en el oas.o de

Pereda* sino. tratando, de amp liar este horizon tea abareando . ' ' ' , - ' ' .. ,100 - la amplitud de todo el territorio chilenoo,! _ '

.- Examining Latorre ® s short storieswith a view towards

observing the struggle between man and nature noted above8 w©' find that this, concept underlies, their: majority» Notably .

Is this., so in Quna d e . Gondoreso Latorre. nresents„ In this hooks a mas si t @- powers Nature typified by the mountains, with their flora and fauna— = against, which the'man of the.

cordillera must fight0 The conflict between these.two forces-

Is at times elemental9 although it may be implicit. We see .'. 101 the sierra.- in all its grandeur s ✓ . Vivia. la sierra.con vida. imp on ante y majestuosas graves y solemne&g levantaban las oumbres al cle-. lo sus-. conos que la nleve. suavisaba y de las quie= bras y hendeduras de^sus laderas bajaban. hirviendo haela.el lecho d e l .rie un millon de arroyoa cri9 = ■ talinoso Gantaba la sierra su canclon sin. tSrmino $, baj o la augusta y enorme plenitud de los cieloso s . r^Eis^uera. Vanaf!3 • 1 0 2 : .. ., t ® odlvisabanse. los dentellados. perflles de las .. cumbres que bajaban haoia, el valle* rematando, en espolones . interminabl.eay sobre ellas9 oomo para turba,r su enorme monotonia, la masa trunea del Peseabezado' veteada. de irregulares regueros de nleve. .y y . ' g"La. Epopeya de. Moni.-'j

Against a. background comparable in . epic, quality, to the, aboves develops a struggle. in many ofLatorre8 s stories. The man . ' . 103 of Ghile is pictured,as. a super-types

On Chipo naeio en el bosques era hi.jo de. la selva. o o olluminado por el resplandor de la ... hoguerag. su perfll se alargaba con la f I era agre-= slvidad. de. un pIco de -condor y su mano crispada y seca pare el a guardar en ,s.us. callo sas hlncha=- sones un estuche de garras 9 dispuesto a .abrirse' al menor contaetos con plastica sensibilidado ■ - ' [ "to s Eestanas de On Ghipo"]

Qounterpoised specifIcally against this rural man (On Ghipo) ■ ‘ ' : - • ' ■ '104 ; - Is NatureP in symbolic, form (a puma)I

D.esde la entrana frescs, de la selva,8 con el . paso eauteloso de un bandldo» deslizabase por 87 entre los troneos:. de. los mblesp apartando las galas, a-rlseas de laa.quilas qiie.colgaban.de las ranias.|.. eti. los parajes otoscuros .llainea.ban sus pupllas de oro^ reinas d© las, sombra c,siej| y ©n. los; clams, del- boaqtie$ plateados por la .ml.eve» su caerpo el£stilso. emcoglase en. una. hlpdcrlta GomtracQlom de. .beaMa huraEao A1 menor* estre= mecimiento de las. ho jsa alzaba la , oabeza.g . eri.= sada de cerdosos J>igo.tes9 una . pata del.azite. de la otra» Bn su oldo.* sonoro. como una .Qavema resonaba; la slnfonla- de. la, no.che. en. la . selvas aleteo sedbso de murclelagos9 sacudlmiento de pelages ai.o.jadoSj go team de, agda mleve p.,estallldo de v^stagos debiles que se. qulsbra,n5 redo. . ‘trueno de arboles , vi.ejos que se. de.sarraigan o de aladea. que se escurren p o r . lo.s. -de.c.live.a4,,: rellenando las torrenteras con sv. carga ^e mieve» . Min medio :de ese cQBeierto de. ruidos. su, oido ■ mara= villoso pereibia todos los matices.g. en su ca.be" za chata 9 las pequenas ore.jas movibl.es no in- t ereeptaban ' ese ■ mando. ■. invisible, j multip le . de.. notas: penetr.antes q.ae era. como la vos de, la selvap es treme eiendo se.. en. la^ belada. corteza de la tierrai yoz que solo Sl. ola con la.mlsma; agu.deza que sus pupi.las ,de fuego traspasaban la sombna. burnedap resbalosag impregnada. de las . ■■ exhaladones de los S-rboleSo Atraveso e^. bps- que precavido i de cuando e n . cuando.. sacudiase la cabeza llenade polvo de. ni.eve» - Sa jo su ■ plel, lustrosa rodaban, disimulados comd. punales . ' en sus vainas los. -formidablea musculos., con. bndulaciones de serpiente y los. resdrtes f lexibles de sus pata s.. ap.enas de j a ban un ara- nazo en el plumon esponjoso de la nleve» : ^ Dos Pestanas de. On Ghipo1,j

Ultimately^, of course,, the man and . puma, are, brought face to

• faceip with the latter finally, being overcome^ Qn, Ghipo 9

though losing two fingers in the encounter^ has proved, his

prowess o N o t . so f ortuhate:s, however» was poor little, Honi

(“La. Epopeya de Moni”): who» during his .struggle.with.,the .

condor he has, trappedp,, falls with it over, a precipice, and

dieso Deaths in this instance9 is seen by Latorre as a m y s -

■- ■ ' _ ■ ' ;• ;. ■ ■ 1 05 , tery which.presents itself ' 88 ery la soledad de las. montanas 0» o corao un esealo-= f r±o” que. he 1 aba su sangre y donde. se h u M e s e ' ' futidldo. t,oda la nleve de las eumbreso ^"La. Epopeya de Mon±"j

This tendency on La to me s part to create powerful.

beings, whether ..of Nature or man, is. noti.oe,abl.e ,in works

other, than Cuna de Qondorea (On.Pantafl Hombres y Zprrps,

Chil-enos - del Mar, .etc.o )0.. The soene, of On. Eanta. (subtitle s Los Q.erros) is that of Mariano Latorreb birthplace, near

G.ob.qti.ecura.o, ' The author is. obviously in love with, this,... .

..r.eginn.,,, as., it. .appears., in many of his. other, works (Hombres ,

y Zorroso Guentos del .Msule)« It is in, relation to On Eanta . ' ' f : ■ ..... ’ ' . 106 that Luis. Alberto Sanchez remarks s 11 Hay muchas @xcepciones.s

pero‘ la, tonalidad general, que , pres.enta la literatura chllena,

\y tambien su pintura, es el predominlo de la naturaleza

sobre el persona je.., al rev.es de . la peruana» Latorre.,. sin,

embargos tras largo caminar por' todos. los sender.os de Chile,

hoy' acierta eon su exp.resion s no le. interesan los problemas

cltadinoSs que el, vive ayaramente y eon . los. cuales alienta. . ...

y fantasea; le interesa su tierra« Sus.personajes no son el.

condor y el puma, ni la diuca.ni la tenea, sino el mar, la

monfana,. el arbol, la. llanura y el, cielo s 11 This point, :1s

true® referring as it does, to On Eanta,. and also to. other

works by Latorre« The title story of this collection bears

out what Sanchez.says, as we can see in this description of ; 107:; On Eanta himselfs

• Toda su persona, tiene. ese mat! z, gastado.: de las serranfas, el de los eerros gredosos, lamidoa por las aguas, el de los arbolillos, enraizados ■ en. las piedras9' el d© las easaa,, llenas de. parehes y sosteBidas: poi’ troBoos de roble: sin. embargo*, toajo esa aparencia po'breg una- vitalldad latent© ■ gue se aferr-a al vltlr, que lo resists todo, la miseria y el tleiapo.«, ' - g "On PaBta'y What hatorre Is describing here .seems not to. be the mans but rather the. Ohile-. the author knows:9 and lores o The close relation , hetmeen. .mam and. lamd is.. implioi t# " . ■ : .

In Quen to a del. _Maule.tt Latorre1 s first books the author shows little of this tendeBcy to unify man and naturae Such being true9 he. derQonstrates s, slight carry-over. from., the., first phase of rural Ism in the Ohi lean cuentp» As he., p rogres*- sesg however 9 with each book Latorre. more nearly attains, what he. is. seeking* His desire. to paint Ohiie.. nears final. fulfillment» and at the same time his; characters stand o u t ■ ; against their background* .' . f . '

Reference was made. in the .preceding section to. Melfi8 s , statement that there are two types of author, who. can. ..suc­ cessfully cultivate. the . cuento ruralo In addition.^, an. . attempt was. made to show how Federico Sana and his. followers/ failed to, immerse .themselres. .in rural Chile*.-, thus to identify themselFes. with it. This was. partly true ^ because while, they were, fond .of. their, oountry* "its scenesof happy ll£es its .beautiful landscapes* etc*» they were unaffected by its - tragedy.* . Hy presenting only. the,-bright. side, of life* these : cuenilstas. fail..to paint a- true .picture of rural. Chile* ■

More closely associating himself,: with rural life. La- ; torre takes us with him and shows us how the Inquillno» huaso o mauilBO-3 ■ etc»9 live, and acto ife.. ape made . aware of the

rural .man.g the true 0 hi lean® Un fo r tuna telj s one.thingis

lacking iti Saterre=> In liia, treatment of the man, the.author presents somewhat typical specimens {of _ the type. he. ia de=?

scribing) 9. yet. an element is . mlssingo.. The man is, incomplete9

because he. has', no .real, inner, self, at leasts not one, that 108 is visible in Latorre1 s writings 0 Oerruto sees, this, defect

of Latorre when he says that: t9Sus hombres son figuras de

cera;, imitan admlrablemerte el.asp.ecto' y los. movimientos; del

hombre s pero eatan vaclos8 earecen de alma, carecen del lodo

y de las. maraas del lodo son. angeles vestidos de paisano ift

In .Mariano Latorre ”s attempt to give verisimilitude, to,-.his

stories he (goes so. f ar as to. include, hi m s e l f b y nams8 as a

character (“Salteadores de .Ohlllehue-’ for,example,) 0 letg ; •

his other characters are.hot thereby made.real» Only in a

^ few scattered, instances (fEl. Pinado Vald$s.9 " 11 El Filoto

Oyarzo " ) doe.s. a man wi th. a, soul appear 0: ,ln El Finado. Val­

des,, 11 howeverp Valdes'8 psychologieal, makeup,must be, inf.erred

to a great, extent by the reader.^ An early cuento« "El Jil-

guero de .Miss. Elliot p ** does. portray. the f rustrated soul of

. a middle-aged, spinster to; a certain extents but her .inner ■

psycholo^r:is not as convincing as it should be to give lif e

to the. story.o ,

Analyzing the inability of Latorre to give dimension . ■ ■ ' 109 ' ' and breadth to his characters^ Oerruto. comes to an Inter­

esting conclusiono He notes that the characters of Latorre s u GaKeoen de algo y de una dlmensloii humana s d e . sus protilemas o15

He further strengthens this point by drawing the arbitrary

eonelusion that M o 0oes alll donde reside el drama, de la,lite- ‘ - ' . . 110 ratnra oriolllstax ohllenas es u n a .llteratura sin nroblemas &” z i n " -. ■ .■ Julia G-arola G-amea s while recognising Latorre1 s deficiencies

In character portrayal* nevertheless offers some explanation and justlflcatlpn. for thems "8e le ha. reprochado, a Latorre

esta vision, deaaslado cenlda del hombrey el po.co .ahond.aml.ento

de las almas slgulendo slempre un procedlmlento muy sumario*

81 es cierto que la mayor parte de sus protagonlstas actuan

■; eomo. emana.clones del paisa je y es el paisaje lo mas. vivo9

lo m£s importante en la def inida .y clara . armonlzacion de

los valores espirl.tu.al@s9. no hay duda que su conocimiento

’ ' ' ' ' - vlgoroso y: caracteri.stico de la. real 1 dad humana;S. su expre- . ^

sion.de.relieve notablemente.personal, tienen un gran valor,

un valor que no deja lugar a dudas«"

In the second of her articles.on Mariano Latorre, Mag- -

: 112 . ' ' da Arce also,would seem to excuse him for failing to pre­

sent the problems of the rural, chilenos when she. says ?• f,La

tierra chilena, llamase eordillera, inac cesible oselva . vir- • ' . ^ " ■ ' . ' gen$, disuelve al. hombre y lo haee minusculo ante el prodlgio

del eseenario* Oomo. Latorre es. un visual, un retratista,

es log!co que su InterSs se vuelque mas a la naturaleza,

mi.sma que a la .eSpecie humana.o'1 However, Latorre seems to.

attempt the . erea.tion of true-to-life characters, whether or '

• not he succeeds in the endeavor« 92 One of the me.thods.. Latorae uses : to lend a»n air of

verisimilltude- to his stories- is. imitation ef-. rami; spe-^ehp v

Of courses such had been done_ by previous .writers In Chile8

- but. certainly not to the/ extent found.,in Mariano. .Laborr*e0

As. an. aspect. of his regionallsm.9. the author ' s characters. :

speak for the most part in.. their native diale.ctsc. This...is

. seen in HQn i>.anta.s,.M for. example9 to an almost confusing :....; / ; . : ... 113 ■ - ■ ■ : ' ... ■ degi,ee . .(reproduced, verbatim) s • .

' “=Hay puma-s .pu'aqui j, vecinoo Es que hay qua . .c.onooer-:i0 a.. cerro.s..,pa.-.noblclarse.6 Y yo deasu chl- . co los he tra.jinao.5, porque_el f j.nao ml pnde g slca me echaba con '.eabras pa- BeSalquin^ dondeaire siste Una lioneras una cuevaza negra qua no s.e. le oonoce finV ' Ei si’han visto rastroso : . - - - - : £ "0n Panta^-j Innumerable examples of; this kind' can be drawn from Latorre 8 s' ■

ouemioao . - . ... v; ,0%. . io conclude ..with. Latorre^; we can summarize, in the words ' . :. "■ 114 -■ . • . ' ; of MagdeiArcei his. fundamental • characteri sti cs.s . . ..

la verac.ldad.de. sus. descripcioness la aut en t i. ei dad ’•■'da sus . tipos.o Eundamentalmente. verxdlco90 ».Ho le ha dado, cabldo en su literatura a nlngdn dilettan- " " tlsmo.r, por muy j-alta que sea. la . precedencia, ». <,en . ; .. : Latorre se ve slempre su i.nslsteneia9 su claridad . , ’ - - para perclblr- deads lejos el .fin primordial.de su '. arte g; .do.tan, a. la novela ehllena g and the cuentog de to do s los ’elementos. de un arte auten.tico> serio • • . y tras.cendenteo ^ • . / . Es la clave de. su..es.tetica..oo^su. apego .entra-* ,. nable. a la tierra. ehilena. y a lo. que brota o con­ vive con es.a tierra de serena .belleza,0 « * »el,. carino al. ambiente lo harS.-penetrar? no solamente en lo que. esta en primer pianog sino.en au .pathos ' mismo.s en. .el; .aura. del . paisajei en lo .que un: .paisa- je iiene de mas £ntimo9 en la tensiSn dramati.oa, en la trlsteza o en la tragedia que adivinamos en elo . ' ; . : vf--. ; , : Oarlos Acuna has published three volumes of short stories? OapaoMto (1921)., Mjpgaco (1926 ) aBd . La Q,ue. Ko - Tenia Goieazon •

(1934)o Previous to.these had appeared two books9 Floraclon

JL^resteo A fflor de Tierra*' both a mixture, of prose and. verse.0

His most, recent volumes' demonstrate Acuna8 a relationship to . ... ' -115 this.. phase .of ruralism» Haul. Silva Gastrog speaking of these worksg says. that, in . them. Oarlos Acuna, “mostro una notable fidelidad para deseribir la, vida. del.campop tan to en las • > exterioridadea d e . las c.ostiimbre.s, como en los detalles. .mas . ihtimos. de la - p si cologia, popular. ? pero. tambien demostro j, en general,. imperi ci a p a r a ,.mover a sus heroes y. un esti.lo vaci=

Xante... que no siempre le deja dar tono de perfeceion a sus obraso ' . ;

. In one. respect, as may be noted'from, the preceding q,uot ation, dar los. Acuna: differs from his fellow cuentistas of this phases he lacks.. the epic note of La tor re or Santivan»

Acuna.goes to the cordlllera0 as did Latorre, but. ohce.there. does not, transcribe the conflict, between. man and Nature y or, 116 if he does, he subordinates, it to his poetical styleo One . ' “■ ^ point in Acuna's favor, according to Latorre, is his creation of.:the rural,. heroine..o; :

The role of Acuna,as regards development,of this,second • phase is somewhat slights In his.later years (noticeable in

La due No Tenia Corazon especially) the author:' s tendency has been ,to . desert the, country and return to - Santiago:.« ..

Francisco Contreras is the fourth cuegfalsta whose work is characteristic of this second-phase rural!sou A maulino. as-: was; Lafcoxre.s, he desoribes his native region .and southern - " >• 118 - . ' : Chile (in the. valley of Lortquen) ,, In his only oolleetion

. - : .. ' : ( * ) ... : . ' (in Spanish) . »■, .El. Pueblo Maravilloso 3 (1927).» and in others whieh he has nemer finished^ Contreras gave as his aim ’■‘la interpretaclon.de la vida chilena en el eampo s en la aIdea9 dentro de u n . oi elo no.velesoo. que iba a eomponerse da, dies 119 , ' - i libroso11 ’ Unfortunately, for any discussion. of . Contrarasg. there is an almost complete dearth of eritioal information • . 1 2 0 '. ■; on himo Armando Donoso,&. in his; long treatment, of .C.ontreras . as a poets, only incidentally.,, mentions that he was, a. cuentis-

;-tagizing the .wrong , name , to his collection of stories (ha.

Montana, Maraziliosa)... at., . that ^

V v. The story $ 11 El Cule.br on^" a fairly sad story of life in a. small town9. contains, some descriptions typical of this second phase of... rural!sm0 The minutely-drawn picture .char­ acteristic of Latorre is present in Contreras9 as the fol~ , 121 lowing demonstrate s . ’ . : • ^ ' El.eielo abrasado por aquel turbulento ere- pusculo. de otonop .reSplandecla* yibrabas, ardia0 Anchas ziubes'. balas sv algOdonosasp . se. desli zaban ■ inflamadas$. como el humo. rojo de un incendiOo Al occidentep otras fiaasy altas y durasp com© bolas de nieTe desmesuradasp se orlaban de^una purpura ardlentej. por los. interstieios se vela el azul

■ (^) Francisco Contreras has published* in French3 La Montagne Spsorcelee and. La, Vallee qui Reve; parts two and three respeetizely 9 of his, cycle o El Pueblo Marazilloso 9 ineidentally 9 is referred to by its author. as a novel*,.. Howeverp its. lack of. a unified plot and its sectional, nature- both demonstrate..,the work. t©: be a series of cuadros9 which one critic (Latorre) has seen fit to classify as cuentos (see note 119% supra. Lo g cit*)« ■- . ' " : ' / 95 ' : - el^rlaohuelo de la ' region ondula/ba. entre. pena,soos . bmno.s y mem~ .brillares- gri.ses.s,^ como un culebron. de plata. derretida0 Despues se encorraban lomas innu­ merable s9 rubias.. de raatrQ jos o salpioadas,: de ■yinas-s o.on..raros arbolillos...en el cielo?. se abrian valles .sin teminQ.s azules.de. sembradosy rayados de oro po,r las alaiaedas. que el. otbSo metali z.aba.o ' En f .in 9 lo s . c erro a lejanos jsn- , • ■meltos eomo en un humo azulillo que tenia de yioleta las faldas desnudaso-o» ^ g "El Oulebron'y

.Thusg,, it is., seen that the. second phase of the. Chilean

rural short, story demonstrates several distinguishing char-

aoteristlGS* Most important9 perhaps> . .Is. the. panorama of

scenery used as .a baokground . for. the euentoso , The .action -is

no longer limited to the. oentral valley.® In addition^ other

sali.eht .points are no ted s such aa. a tendency, toward precisely^

detailed descriptions inclusion at times of an epic note (the

, struggle between man. and. nature for supremacy g for example.),

and a new treatment of the rural. Ghilean 0 Regarding this .

latter aspectwhere the ouentistas, of this phase have tried

to make.their characters.. live« they have not succeeded®. Even

though,Xatorre g Santivan . and the. others, attempted to, imbue

their , works, with a spirit, of life$, through more or less

conscious self == immersion.-in their subject matterg they have

not transmitted the psycholo#" of rural Ohile* Turning now

.to. the final, epoch of the cuento. rural® we shall se what

later authors, have, done in order to accomplish that which

these men could not®.,, ' v' ■' ' . ■... , ■ > ' ; ' 96 To THE .RU m L .032OBZ THIED EFOgHS.

. Growing ' immediately. from the. wo rks of. La tor re» Acunas •

Gohtreras.$ and Santlvan is the third epoch, in the Chilean

rural short stor^ro Its beginnings are to tie. found In..the middle. 192Qlag. .with the style , of writing oharaoterlstio .of. it. continuing up to the present- day 0 For this... reasong some.: of the writers, belonging to this: third phase of rurallsm will be included' in the next chapter, On the contemporary short

story c, -

While demonstrating many of the traits found in earlier phasess the later rurailst.writers add a new element in their, euentos.® They reveal seme of the psychology of their

Characters o. Concurrent with this . new. intere at. in. the inner man can be seen a playing-down of landscape per as* The one­

sided .mana the subject of Natureg has become. the multi- f aceted, man g the subject not only of Nature .but. also of .en­ vironment and racial . heredity..* . At. this....polnt, in Chilean . rurallsmg therefore.^ the author ’ s. interest shifts from landscape to character. It. will be noted also.g that this, tendency was started a long time..pr.evious.& . Considering the ; three phas.es . as .a: whole,g the following progression, is evl- dent s. Nature , is ,predominant .over mans Nature . equals. man,g and

Nature i a subordinate, to man . — in the. author.’s interest ; which progression isg . in itself,g fairly logical*

The break between this, latter, and its preceding phase was not a sharp one9 nor was that between the-first and ' ' ■ ' / ' , :• 97 see.oudo There i-ras s as is common among- literary trendss a period of overlapping:, -dr transition, between each phase 0

The first, and second forms of ruralism occurred.very .close together, chronologically, as.can he .ohserved. by comparing - publication dates of the various:; books.^, A little more distinct, perhaps, is the transition between the second, .and third .epochs., Latorre is. the only, member, of his. group to remain faithful to.its form.and style. Still living, and writing to a Certain .extent9. he, .represents...the- last: trace of second-'phase ruralism». After his peak, of. literary .- activity in the 1920’s, however,: the. importance of the epoch , " ' .* 'c . ■ ' - " ' ■ " : he ..represents - began, to. wane.. . This 'phase , of ..ruralism...was, becoming worked out, as had the preceding one. A.:new. device for .obtaining reader^interest,was necessary. Recognizing . this fact, several writers. beginning 'with Luis Durand . and Marta. Brunet, and Including later danuario ^var» Jenua=- rio ^.Espinoza, Ernesto.:Montenegro., and Malt.e. Allamand — determined:, to. attempt what' their:, predecessors. had;, failed. . to attempt<, That, is, these cuenti.stas hoped to present the complete,, rural. Ohl lean, describing both his .interior .and exterior^,, ■ It.. is,for this.. .reason,, that., the ‘ third. phase, of ruralism in the short story is referred to as the-'-psycho- . 122 logical'8 epocho . . . Unfortunately for any precise., study of this period, a there, is a noticeable ...lack .of...source material., save for such,relatively great cue^tistas.as Luis Durand, Marta Brunet and Januario Espinosa^; The others, wrote, either one

or two small colleGtlons . at ,mostj, and these are practically

unobtainableo In addition s in the,short stoanthologies . - ' ' ; ' 123 listed, by Bernice Matlowsky in her bibliographical guide^

only Ernesto. Montenegro is mentioned, with one short story ■- 124 representing hinu, For this reason.^ .DurandBrunet,,, Espi­

noza, and Montenegro will be the.: main .. figures:, discussed ■ in

this section$, while references alone will have to do for

the. others,

Luis Durand (bc 1894) has. published several,, collections.

o f . short storiesr Tierra ..de. ,Peilines,s Ouentos del Bur (1929.)

Campesinos C1932) and. Glelos. del. Bur. (1933) ° As can be . .; .

inferred from, these titles, Durand,, a native of southern ,

. Ohlle,. chose to, sing of the glories, of. that regionc Of the ■ ^ 125 stories, in Ti.erra, de,Peliine30 Raul. Silva Castro, has said s

15 Ouentos . humanisimos como . Remordimiento, y Vino Tinto. hacen

la fuerza en este volumen de cuyos rlneones , se . exhalaj, en

vaharadas turbulentas @ el alma del campo chilenooDurand

can be seen as one. of the first members of this epoch In

: that % '’Alguno s. rasgos de bien enoontrada. paic.ologia hacen ■ x - V 126 d.e sus ouentos o » oobras: de, verdadera iluminaclon., c o.,." Luis

Durand is not only an observer of his countryman8 s life and ■ - ' 127 actions,, but also of, his philosophyo

On the jacket of the 1946. edition of Oielos. del: Bur, is

a concise definition• of the author s. qualitiess presumably

written by:Hernan Diaz Arrieta, which says of Luis Durand thats . ;

. Sus personajes viYen0 Se ha die ho que en . nuestra, tierva el panorajBa oordillehano.. d@TOra al ho.mbpe y las. pie.dra,s- ofreeen. m£s .interns, que su radtmen" taria, p.sl.cologla<,:. Duzand,^Jil@mu©sti’a..qu@,2 3 o hay" psieologiarudimentaEia.bIqo para el que se de~ tlene^en la snp.eEflel.es. nl.tlpGs desprovlsto:s . de interea slno para ..Qul.en-;no. sahla yerlo.a.^- Los . auyos se muevens hahlan y dejan en la memorlala estampa de su. flsonom$as e.Sndlda o mallclosa9 entre aventuras que no se dirian inventadas<, de tal manera corresponded al car£cter naoionalo

Slnoe Lul.s Durand. 1 s.. not so. interested in landscape as

were, his pre.deee.3sors-.a he Is. able to ooneentmte-..hls.. attention

o n . the man of rural. Ghlle.^ . As,, a result ,of thlsg Durand' s

cuentos revolve primarily around, man and his. .emotionso There .

Is little, aetlon or plot in these-, stories , a^s. reader-lnterest

is suppo sed to center on the. eharaeter studies, they. of.f er.o - -Furthermore,9 it is evident that Durand has. not chosen, atypical

persons to 'describe, if we consider- a- few of.-the ...basic, -char- : " ■ : ' ' .: . . . 129 ' • aoterlsti c.s of. the. average 0hllean<, Carlo s. Seura Saliro^ in

hi a. study . of Chilean oharacter types:» lists, among, others.^

the. following racial defects and qualities s envys drunkennesss

Measlanlsm. (lie, , "en el sent!do d e .esperarlo,. todo de la

auerte" Ig...scorn for life. — his' own or that. of. others and . affection for the. land (referring to the inauilino)0 Luis

Durands. in his.. eharac ter. portray al a s, draws from these elements

basic, in .the,:;average. Chilean., -' Drunkenness 9 for example, is. treated by Durand-in “Vino

Tinto.o" . As. the title . might indicate, this, cuento .concerns the

huaso 8s love for alcohol= Anselmo Lopez, who would do anything

Univ. of Arizona Libraty ' ■ ' . 100 (short of, working) to obtain his .beloved vino tlnto, breaks into the ranch 8 s wine -.cellar0 He is. driven to this action

.by; his master8 s refusal .to^give him. any wine, to ..drinkG

Lopez j, out of his mind . with thirst , cannot... restrain . himself»

Once. he. has., broached a. cask, and. has... drunk to repletion.,...

the alcohol, goes.:, .td:,-.work.;..oh.. him* Imagining that his worst . - . / : < • ■ enemy..9' the. overseer .Jeronimo. ...Gontreras.^ is watching him,

Ans.elm.©.. tri.e.s to. kill., his vision* In. his drunken staggerings he loses..his,..footing and falls into : a nearby .wine vat, where he. drownsThe story ends on a rather sardonic note as two 150 workers says' ■

' ' z '■ > ==La pur a verda q.ue nunca habia salido; un vino mejdr qua. el. d.e,est.e. anog, ^no. es cierto.g on aaohi? ^ . - --Muy verda.., on B a l m Pablo® ' Y el de Is, v euba grande, g in which still f loats .the body of Ahselmo Lopez j ha slo el. me jor», Ta de mas carlo el tlnto Ssee o o .' . £ H?ino Tinto^j

The true Interest of this. st o r y h o w e v e r s lies not in

its . humorp ’ but, in its,.portrayal of an habitual, drunkard

deprived of alcohol 9. and, his, satyrs like. pleasure . once he

Is able to, drink to his heart.8 s content, Luis, Durand,

effeotively analyzes the, thoughts■ of Anselmo Lopez,, thus

ereatlng a. charac.ter who lives and breathes »•

; MLa Picada” offers another interesting-psychol.o,gicai

study o f . am alc.oholic.o This time, the thirst for ...liquor.

.drives, a huaso ^ Pedro, indaur9 to skin an animal, which .has. -

died.,of la picada0’ a .dread and contagious disease^ in order

to sell the hide and buy wine® Contracting the sickness ■ ; loi ■.

himself* Andaur .dies harrlfoly o Durand depicts vividly the

- : ' 1 5 1 ' crazed Pedro’s mental states • - . • ' : ' - : ' ■ ' ■ " : - Bntonces veia^que el cerco era una serpiente monstruosa que. . venia haeia elg retorclendose . sobre el. camino 9 con la cola erispada9 sobre. su.. lomo un inumerables.CslQ 3 fleeoss, abierta la. bocaza que se lo iba.a tragar. Despues los arboles eran extranqa e inmensos animales. y marchaban ,a su encuentrog eon cien brazqs extendidos-. para aprisio- narlog en tanto levantaban nubes de pedrusoos y de tierra que le azotaban la eara cegandolo® ■ (C,"La. Pi.cadart5 )

"‘Eortillitasgt$ one of. Durand's lighter cnentosa depicts

envyo In the story9 the patron hires a "foreigner11 (lc.eof

a person from. another section of Chile.) .a which action is

resented by the other. laborers» Their envy in crease s. as the

new man... shows, hi s will in gne ss for hard. wo rk» Finally.^, after ■

the patron has [email protected]. raised the position of the man

to that, of overseer9 the man. runs away with some cattle,0. . -

When he. is ; ultimately, caught and returned, to his. master,,

• Durand presents an excellent description, of... the dutrush of

the other workers11 repressed Jealousy now that the "idol" has

fallen0 •

In other atories-s, Luis. Durand, contents himself with

describing emotional reactions not precisely characteristic

of Chileans$> but of practically any type. of. person = The

theme of. an old. man's Jealousy of his. young wife ' occurs .a t ,

least once among his stories § "La Muerte del Zorro.o In this . v 1 3 2 cuentog the. husband ambushes the lover (who works for. him.) s ;

X subitamente.s,. como, una huina. enfurecldaj, 0 .0 o ' salta sobre el® ' . — fBerroSs, iperroI =— vocifera el viejo' ^ espues que te dl que.comer9 espuls que te mate 102 el harnbre I ladronj . .. - . ^’’La Muerte. del , Zorro.^g

During their struggles, the two roll, over a precipice and are

' killed., .The ending of this, story is remini soent of that of

■ ^ Latorre’s HLa Epopeya de Moni g11 as will be . re m e m b e r e d I n

that. ouento * howevers: the :atruggle was between man and beast

(or rather bird) . whereas this is man against man -= the

difference, intimating how times have changed in the rural

short story 6

.l1Bl Derrotero” is a rather sad little story relating the

death of a young huaso.a Juan Segovia, who is very much, in

loveo His sweetheart8s father has sent him to the mountains

to dig gold? so that Juan.may obtain enough money to main­

tain the girl very comfortably0 On his way back, laden with

golds, both Segovia and his mule are killed, in an avalanche

;of snow* • . ._ Narrating Juan 's trip through the mountains;, the author .

gives us at the same time.an accurate and interesting account

of the' thoughts flowing through the man 8 s mind,' In this story?

perhapss, are more clearly stamped the traits marking this

third phase.of rurallsmo . An individualistic note prevails$, y.

the glories of the scenezy being described as the man,, not

the. writers,, would see themo. G-one is the, point-by-polnt

description noted in the second phase. In its places we are

given the significant details.,, as. they Impress . themselves on

the mind of Durand8 s huaso* Curiously .enough, one of Durand's

traits, as noted in. this storys is the use of pathetic fallacy<, 103; Thuss, when Juan Segovia, la happyr, thinking of - his sweetheartg the scene, is radiant, with light and colo.ro Should his mood changeso too do.es the a t m sphere* In the following s c ene

Segovia.is returning home Cshortly before.the avalanche strikes) $, ;and the. -author describes the. landscape — . while not certainly 9 in the. words of Segovia intending to convey the ; 133 impression, his. character recei.ves..g.

Sol radiosog que poneh.larnpos..ence.guecedores9 sobre. los nlveos. murallones.d .huoes .violentas se irisan en extrana policroml.a.a Ha.y ablsmos .hondos de colpr violeta* Lagos verdes. a,mles donde. se mueven peces estrafalarios* La nleve a ratos da ia impresion de formar inmensos. tSmuloSs, ouyos : . cirioe> ehorreados de rayaa Q.ncendidas$ a ratos se entrecruzan y for man estrellas de.slumbradoresg que' hieren la vista y haoen bajar los ojos** = .' . - . ^ liEl Derroterol1j

‘ Like Lui.s Durandg Marta Brunet (hs 1901) in the panorama of her writings, leads us slowly but surely to what, will, be characteristic o f .the contemporary short.story® In her first collection* ReloJ de Sol,. (1930) a “lo quo hace. el .encanto®» ® - - ' ' - ' ^ - - ■ - ' " ■ ■„ ■ , : es el . estilO g un elegante y soberbi.o. estilo de narmeion 9 vivo y coloreado.p lleno de brio y dinamismo*. que inf unde .ani- / ^ maei on a .cada. eseena y gradua. sutilmente las . imp re siones. de

■ ' ,134 naturalsza, y las. revelacion.es de la, psicologia01! Marta ,

Brunets in common, with her fellow ouentistas of this phase* ■ knows “el campo y.sobre todo a la gente del eampo3 sus cora- • ■■ ■ / ■ ■ ,135 zones simples s sus pasiOnes.*. sus reaoclones psiGologicas.®

“Dona, 8antI..tos*,“ taken from, the third section of Relo.i . de Sol, (“Ocaso*1). a is a n . amusing narration disclosing - dona : 136 - Santitos8 philosophy on mens V; . A los homlDres-$.''p.a ten arias.- seguyosg ha,y q u sa,ga“ rarrlos por el mieo a enoon'trarse cualesqui.er dia . sin mu j;6 To No hay qua ielrles. nunoa- si nl no* . Hay gue ioirl,ea:..siBmnre quiz^o 0resjne 9 inorita s la muj er que no t^ene al hombra.. sobre.s9,ltao; de . reoelos esta pe^dia-e / £ MDona Santi.tosfj

It must works or else this septuagenarian would never have a

, twenty^year old. Ibirerw ' ; ■ : '

"Hon FlorisondOg.” from the, same, book as "Dona Santltos»"

■ is similar .In theme to "La Muerte del Zorro, 11 of . Luis Durand.®

The jealousy of. an old man, towards his young, wife is heightened

here by a, different situation from, that, used: by;:.Burand.0,.;don

,Eiorisondo has always wanted a son® Finally one is.bom:to

him?; and hia.-wife falls lll. with ehild-bed f ever® .: Deliriousj,

she reveals to him- that he is not the father. of the newly*=>

b o m baby o, Marta. Brunet then skillfully portrays the old v.: ■ ■ 137 v •- tv . ; i • man 8 a :. .reaotlon,s

. . El viejo. llegaba a la cuna9 ya. b u s manos. en« garabitadas alzaban la ropa, ya toeaban el euelle- • olto. tibio ? ya se apref aban, .eerrand©.. el dogal . ase- sinoo Ya» i ’ ' Hero no apreto,® Se quedo eon los dedos como ' garras, en. el aire ® jMatar?. ojMatar? x^For que.? ■ , : ., ; Griatura, engendrada sin. qmererlo? j-qu.e oulpa tenia ella? . Bobre eosita de nadag. tan blaneas tan endeblep tan sin amparo en el mundos . g ,sDGn .Floris.ondoMj

In addition to Eelo,1 de Sol.® Marta Brunet has, published '

; two other nolleetions t ilguas Aba jo and Hals del, Sueno.^ Each

of these .shows,.the ...same., eoneern wi th the person., rather than . {ft ‘ - the country o Of Ralz, del Sueno.® especially 3 is this true*

’Sinse these.books chronologically fall within the contemporary

■ ' periods they will be .discussed. In the suoceeding. chapter® ' ■ V:,; . : . :\ _ : . > " ■ ' 1 0 5 . Ja.nuari.o. Espinoza (bx> 1879)-is unlike, the majority of

CMlean. auentxstaso The usual .oeourrence. in Ghile. is - for an

author to begin with- short, stories, and end with novels (as ■

in Edwards Bellos Latorre8 Blest.Sana^ Rojas9 ete0). Espi^

nozaP however $ ■ reversed, this proee.s.a by winning fame first

as a noveli.s.t,:CGeoilia.<,, 1907). and later as a. Quentlsta ..(Bn

Viaje con el Diablo« 1930) His relatively small,production

(compared, with that of Durand, for example) does .of£er.9

howeverj, several puentos, typieal, of this phase, "La Inutil"

is; like Durand8 s. stories 9 in that seenery is minimised^ the

.bharaoter,studies,taking the position of prominence. La

inftil, herself , the wif e ,o.f an army . lieutenant devoted ' to

his profession^ is typical of. the,,silent and. suffering

Ghilean . womaho Although, the objeet of many of her. husband ” s

blows and:, curses 9 she ,neverthel.ess. does, all. in her. power to

free him from Jail.9 where he has been sent for murdering a.

sub-offioer who failed to. salute, him. Her affection-for her

husbands,, despite.,the treatment .she receives from him* forms

the... true backbone of the stozyo.

■Emesto Montenegro (b, 1885) concerns , himself . more with ■ , - . • - - : <7 . rural, philosophy than psychology, in his Ouentps de Mi, Tlo..

Ventura (1935)o These stories are really of the.nature of

fables.® .each., with: .its, appropriate ..moral., ("for una Docena de •

Huevos Duros^" for example)» Set .in Ghile® the stories of

Uncle Ventura also bring; to mind those of our own Uncle Remus$,

as both are. similar in form and natureo 106 03 Malt©.. Allamand . nos pln.ta e n . Gosas del' Gampo g 19353 y

en Parvas Vle.jas gl936 — undoubtedly" a misprint In Latorres

• ■ • ■ - ; 138 the. title of this second worK..should be Parras Vlejas^*

pequenos euadros del campo chlleno 9 sobrlos y dell cados $..

especle de aguas fuertes llterarlas. que9 per la novedad del

punto de vista y de la teenlca9 destacan aspec.tos poetlcos : ■ 139 .. ■ V y tradlolonale.s del e.ampo =000 Unfortunately 9 however^ the

: »» s ' only example, of Malte Allamand's. writing .which., has..been.

available is one not characteristic of this trend,,belonging,

rather.p to the contemporary period* Consequently, it will

"be found in the succeeding chapter Q

In. comparing this last phase, with the preceding ones of

the cuento , rural, in . Chilean literature..between 1900 and: the

middle ..1930 ’sn several,.observations can be made« The-trend,

in landscape description is., firstlys .idealization^ secondly,

detailed realism| and ultimatelyp a combination of both =—

With the. notable exception that only salient.features.of. the -

seenery are mentioned^ In addition.,, the use /of Nature as a. .

predominant" part of each cuento undergoes a. gradual,decline

from a position of .prime to secondary importance.* The. actor

in the. stony9 however, becomes.more important*. Prom a one-

• sided figure, lacking life, he. becomes a real .person« There

is °a trend, towards psy chological - analy sis. of the rural

Ghileano. Goinoident. with . this. tendency is another, i n : which

■the, authors seek, to.identify themselves with their subject ,

matter® They get “down-to-earth,tt. literally and figuratively In their exploration of geographic 3,nd social Ohile^ £ f i m l .aspeot : which varies . with the. phases... is, that, of plots

Inconsequential at first.g.. intrigue gains importance in the second phase |. only to . he subordinated to character repre­ sentation in the thirdo .

Uniting all of the ruralistas« however« is their basic aim: to discover and present as many, aspects as possible of rural. Ohile in their.short stories» Regardiess of the. method or style usedg this.; aim .is. inherent in the works of the -oreviousiv°nientioned rural! stas In Ohile o Chapter IV

TEE CONTEMPORARY PERIOD lo IMTRODUCTIOls

Two factors seriously hamper any objective study of coil# temporary literatureo There is 9 first of all, an excess of primary source material; and secondly5, there is a lack of truly objective critical materialo These facts are perhaps responsible for the general lack of organization in studies of contemporary literatureo

. In regard to the modern Chilean cuento 9 this lack of organ*-* ization is all too evident» There are many modern cuentistas =■= indeed, the genre has achieved a present popularity surpassing that of the novel and poetry but there is a lack of valid critical material: valid in the sense that it integrates the work criticized with the entire genre« As one critic has - pointed out, concerning contemporary criticism of the short storyg "lo.unico que la critica ensena en Chile es a darse euenta de que la eritica ho sirve para nadao®^

; In this chapter9 approximately fifty cuentistas will be mentioned either at length or in passing„ Many more would be discussed were it not for a lack of information about them*

Since this thesis is concerned with trends in the Chilean ; r euentoq these short story writers will be grouped according to the more=or~less distinct tendeney each represents« That ten primary trends are mentioned does not imply they are t h e : only ones3 for other9 lesser9 tendencies can be observed=

Bight trends have been presented in the two preceding chapters o The contemporary ca.entlstas have taken these eight and either assimilated them, thas deriving related trends9 or built upon them, creating a slightly different tendency. One basic fact is to be noted9 however9 concerning all of these new tendencies@ with few exceptions 5 underlying each is a psycho^ logical approach to subject-matter. With this point in mind9 let us proceed to a discussion of trends in the contemporary short story. : . .

2. GOITEMPORARY TRADICIOMALISMOs

Sady Zanartu (b. 1893) is the only major representative of the modern tradieloU (in the style of Amunategui9 Biquelme9 etco). Basically similar to those of her predecessors9 her workf. (Teniente de la Reserve) addoa new aspect to tradlcion- alismo: they do not place primary emphasis upon the past of

Chile. Sady Zanartu reveals the early stages of the history ; of South America (especially the colonial period). Her ap^ proach is neo#realistic 9 and her style can be compared to that of Joseph Conrad

I. ' THE MODERN CUBNTO MILlTARg

©legario Lazo Baeza (b. 1 8 7 8 ) began writing before the contemporary period (For el Capitan en Retiroa 1922s Muevos

Gmentds Hilitares0 1924J, bxit his later works fall well within

the modern era § Contes Hilitaires (a collection of old and mew

stories translated into French; 1 9 3 2 ) 9 and Sombres % Caballos

(19^1) Lazo^ Baeza.. is the last great writer of the military

cuentOc and carries on the tradition of Riquelme and the others„

Sombres % Caballos« containing nine stories; draws slightly

from the War of the Pacific, although the major portion of the

ementos are concerned with,contemporary military life» Four

stories show Laso Baeza's maim characteristics: HMiedo de

Cdsarse^ — skeptic and fertile . realism; MVenganzaSi classic

humor9 .$8Eegreso Inesperado®8 ^ sober5 impressive realism? ®E1

Caballo Fantasma” human and poetic sentiments

• THE tJRBANO^EBAilSl TREHt) s . o- "" ; \

Carrying on the naturalist tendency discussed in Chapter ■

Two are five modern cuentistasg Hicasio Tangol ( b o 19G6) 9 Juan

Codoy ( b e 1 9 1 1 ) 9 iicomedes Buzman ( b o 191^-) 9 Julio Honcada

(bo 1 9 1 9 )» % and Armando Rojas Castroo .

• Hicasio Tangolfs only collection of euentos % Panchongpo

remains unpublishedo Several of its selections have appeared;

(#)■ He was not discussed with the military cuentistas in Ghapteri'TwO;' - as he is:, still writing 5 and 'since, he differs from the others in not primarily treating of the War of the PaeifiCo Rlegario.Lazo Baeza is actually .a. contemporary writer, both in ; Spirit.; and’.style 0 . ' ; ■ . / ' I 1 : . ■ 1 1 1 : ' ' : / / < ■ however 9 im various literary reviews» Hieomedes Suzman

says of Tangol that; 63sm literatura esearmena en el alma

iiumanao o.»o^fangol] Es objetivo^ dotado de una preeisa

eualidad para objetivizar los estratos que bullen corazon

Mentro del animal humanoon The majority of Tangolfs stories

take place in Santiago^ the scene of 13El EgolatrasM a very

interesting and gruesome study of leprosy9 with the author

analyzing its degenerative effects on the protagonist9 German

Barrientoso - ' ' - : ' . : . ' ' . ^ ‘ • .■ .. • ■ : ' Juan Godoy shews' great; i!pasion por las cosas profundas

de Chile in his collection Angurrientoso ®LlHeminia S.© Ha

■?engaoK very realistically describes life in an arfabal of

Santiago, The scene painted by Godoy is not a pleasant one9

nor is the story itself, The author possesses a sense of

irony9 as is seen in the comment made by Herainiars husband 9

when he finds his wife8s drowned body. In the words of the title 9 ^L^Herminia se ha vengao;" she had drowned the lice which

were the abomination of her existence,

' lieomedes' Guzman (londe lace el Alba, 1944s La Oarne H u h --

Mnadao 1949) is another painter of 8el arrabal9 el hombre y su

familia9 la misera existencia9 la tristeza y la amargura enne-

greclda,? atin mas? por rebeldias qme mo afloram y se mamtienem

en el alma como hirviente oleaje. Is un interprete realista del

conventilloo63 3 Of the modern cuentlstas in Chile 9 lieomedes Guzman can toe regarded, together with Serrano, Hojas, Brunet and Durand as one of the most important and well-knowno

jtilio Honeada (no.;putolished : colleetion) inelines rather heavily towards a psycho-realistic interpretation of urtoan life in his “Entonces Llovia,” the story of a woman1s devoted attempts to free her husband from jail— even at the expense, of her chastityo

Armando Rojas Castro is, of all the modern realists, most closely allied to the original naturalist trend (Chapter II)» o :. ■ ^ . ' - . • ' ' latorre sees in him an ardent admirer and Imitator of Guy de

Maupassant = -

5 o MODERN FIRST-PHASE RURALISMt

; As lyrical as Federico Gana and his followers, and as little concerned with the drama of rural life, are Enrique latora (to.1909) &ud Oscar Castro Zuniga (to. 1910). Enrique

T,abra (mo pnblisbed Golleetlom) describes ^ im ^Sio Cachapoal^^ what might toe a typical scene in the country? children swim­ ming, a young couple making love, etc.— all in a quiet, se*- eluded spot. Some slight element of tragedy is inserted with

the near^drowning of one boy, tout the author chooses to gloss over the event. ; ' - V;;

Oscar Castro Zuniga (Rue 1 1 as en la llerra. La Somtora d© las Gumtoreso and Comarca del Jazmin) combines the attitude of

Gana with the style of d*Kalmar in his cuentos. In some of his

short stories ( 1 1 Ultimo,w for example) he shows a slight - V; ' 113 V

similarity ;:io the'.secomd^pkiase rtirallstas5 but his sentiments - are less closely, eoneerned with the actors than with the atmosM phere in which they move». "El Callejon de los Gansos?M narrating

the travels of a summer zephyr through a rural alley9 is highly • poetic and subjective. The author tries to present an impres­

sionistic picture of the scenery, and succeeds quite well. ;

60 MODERN SECOND-PEASE RURALISMg ■ I 1

, ' Seven authors carry on3 to a varying extent, the trend es- •

tablished by Latorre and Santivans Manuel Rojas (1.1896),

Guillermo Koehenhampf, Francisco Coloane (b. 1910), Guillermo

Valenzuela Donoso (bol912), Eduardo Elgueta Vallejos (b. 1912),

Alfredo Liana ^arln (bol913) 3 and Edmundo de la Parra (b.191^)°

All are cronistas of their native land, explorers of its natural

resources. Manuel Rojas, probably the most important and cer#_

tainly the most multifaceted contemporary cuentista. describes many Chilean regions, "leyemdas de Patagonia," as the title - would indicate, reveals the . forbidding southernmost section of.-..

C h i l e T r a v e l l i n g slightly north, the author describes the jungle

in Hombres del Smr and wll Bonete Maulino.® The sea appears in ■ ^ . . ■ ■ Lahehas. en la Bahia, and Rojas takes.us to the moumtains in

stories such as KE1 Rancho de la Montana" and "laguna."

Manuel Rojas1 production is; large, compared with that of ;., many of his contemporaries'. Certain currents, or traits, run

through his stories, however, which unify them considerably. Rojas

is very similar to Latorre in his conception of Mature as a "■ U 4 powerful force which dominates its inhabitants =. There is a difference in treatment between these two9 however9 as Rojas rarely makes use of bver^detailed description0

Perhaps the story most characteristic of Rojas* general style is MLagunao ^ Named after its protagonist9 the cuento narrates his trip across the Andes in the dead of winter,

' ; - 9 ■ " - ' ■■■-..■ Laguna9 a pure Araucanians

Era Tin hombre delgado9 con las piernas brevemente arqu@adas9 el euerpo^un poco inclinado9 bigote laeio d@ color que pretendla ser rubio pero^que se conformaba modestamente con ser castano, Su cara recordaba la d@ -un ratbno

He has gone to work on the construction of the trans-= Andean railway. Plagued by bad luck9 the man leaves his job and9 in the company of a few fellow-=deserters9 attempts to return to

Chile. Crossing the mountains on foot in the middle of .

February^ Laguna is swept from an icy slope by a terrific gust of wind. In describing the struggle of Laguna with the elements of Matures the snow9 ice and wind9 Bojas skillfully conveys the atmosphere to the reader.

Don Lelva9 in ME1 Bonete Maullno81 (a bandit story similar to our own modern Western tales) 81representa al hombre.. . ehasearrero y expansivo 9 buscado y estimado de la gente por sm buen humor. Generoso en sentimientos y e n okras... Graeioso. ■ ; ■ ■ : : -■ "■ ' : ^ ^ per® con.esa gracia pleante9 mezcla de malicia e ironia.rustiea. y ‘ 2 0 que es caracteristlea en la gente del pueblo.88 ' Of Leiva and his counterpart) Laguna9 Silva Castro says that "son hombres d@ una pieza, a quienes yemos vivir en ese piano ©seneial qu® es la creacioB novel®sea y a quienes jamas podremos confundir . ■ ^ ■■■ ' " : ' ■ ‘ * V ' ■ entre siow The keynote of Rojas* cuentos is drama, tragic or otherwise 5, and the charaeters forming the dramatic situations are the Lagunas and the Leivas ? together with Nature 0 Rfojas

Can Argentine by birth? though of Chilean parentage) grew up and lived in the atmosphere of struggle he describes» He worked9 as did Laguna? on the trans^Andean railway and he also crossed .. Ip'- the mountains on foot -=»=• without ? fortunately s the ill luck of Lagunap The life Rojas paints is the life he lived| as a

. ' : O ’ : ' ' ' ' ' ' ' ; " 1 3 results it is often difficult to separate author from actor© - ■ - _ . - f " / v Guillermo Koenenkampf (Gisternas g Geografla Santa % 1936) presents the Cordillera and the salitrera as the scenes for his cuentos. There is little to distinguish him from the other realistas epicos Q however =

Francisco Coloane describes southernmost Chile in his col« lection Cabo de. Hornos (19^-1) ° ® =»e el autor vivio en esas regionesi tuvo contaeto directo con la naturaleza y con los hombresg y llevo a Cabo aventuras que le dieron una experiencla nada eomun9 ,de donde nace su originalidad ©spiritual9 su ton© de reciedumbreo de explorador inquieto luchando en ©scenarios braviosQ® ^ ®11 Flamenco9n one of the stories from Cabo de

Hornosa brings out the struggle of man with Nature through the dommdnrr Jackie&s attempts to train the, horse5 el Flamenco.

Nature triumphs9 and the wild mare succeeds eventually in .: : ; : ■ : ' . ■ 116 killing the trainer= In Coloane* s second collection, Golfo de

Penas« are found the same characteristics of the author as in Gabo de Hornos 0

Guillermo Valenzuela Donoso o;Pop.el Ineho Camiho del Mar

(I9 W ) s takes us to the sea. As in Rojas, first-hand acquain- ■

tanee #ith his subject matter makes of Valenzuela Donoso9s cuentos interesting and powerful studies of marine people and

Eduardo llgueta Valle .ids (La Hoche v las Palabras) reveals

in his short stories 8,una caudalosa vena de esperanzada amargura adquirida eh todo sitio donde se allegaron sus pasoso*'^ In

11 Maude? 11 the seen® is southern Chiley and both man and lature move with.powerful strideso .

Alfredo Liana Marin is a painter of the port in "Cochimba/6

from El Terralo This story of a sailor's love for a girl - ■turned prostitute is both sad and obscene. Realism is not lacking in

the description of the prostibulo9 • although the authorfs prime

consideration seems to be the effect of the sea upon the charac­

ters rather than expression of mere vulgarity. - • . . & ' ' - ' ‘ - BchmWdo de la Parra (Bn Wnestros Dias AntlKnoSo Gonselas del

Gran Rio0 19^0) l$caracteriza la vida en las tierras de Bio Bio

In WE1 Gueni- Peseado Volvio a su Querencia81 (from Consejas d e l .

Gram Rio) the protagonist, returns to his native village after a;:

long absenceo The town and surrounding countryside are clearly.

described by the authors and drama is not lacking 9 as can be seen im the death of el giienl pescado when the locomotive he is

managing plunges off a trestle o

7o MODERM THIRD-PHASE RURALISMg

Five contemporary writers continue the psychological

studies of rural life begun by Luis Durand and Marta Bruneto

Mario Bahamonde' (bo1 9 1 0 )$ Manuel Guerrero Bodriqueg Cbol913)?

Abelardo Barahona ( b o 1 9 1 ^ ) 3 Edmundo Sehettino (b o 191^) and

Juan Donoso (bol9 1 ?) are all concerned with the native Chileans

•=■•= their psychology and charactero Mario Bahamonde, in Tres

Cuentos del Norte (19^-3) and.' Pamba Vole ad a (19^3) s studies the

inhabitants of Chile’s two geographic extremess the plains of

Atacama9 and the pampas of Patagonia» Bahamonde includes in

his stories traits typical of both second and third-phase rural-

ism9 deseribing as he does man8 s struggle against nature yet

including in his works more than a little psychological analysis o

The landscape is described in all its glory9 and real men live

and act under the spell of 'their- particular regioho. "El valor

de Pampa ¥olcada0 no reside solo en las desoripcibmes d@ los .

- lugares en que se lievan a cabo las acetones de los protagonistas5

* • 1 A sino tambien en el estudio d@ earacteres9 y del drama human© * 18

Manuel Guerrero Rodriguez (Lastenia v las Palomas V offers

. a study in rural p sychology with ®E1 Parto 0S1 While her mother 9

Bulogia, is giving birth9 Ghana is made love to by the fisherman

PeiruehOo: One® the child Is born9 Ghana realizes; there is no

longer room for her in the house and goes to live with her newly- found lovero Ghana1s passivity is quite well portrayed by

Rodriguez=

; Abelardo Barahona attempts the psychologic depiction of the ■ roto ehileno in ‘’La Puntillsel DiablOdSil ”L© 'chileno, 1© puramente eriollo tiene en su expresion airoso gesto racialo

El roto aeumado em su palabra su fisonomia interna y externa se nos presenta poseido de vitales energiaS;, lindando en lo y ' - ' : - ' ' ■ ■ - ; epopeyicos, curtido por un aparente sol de indeferenciag que no es otra eosa que el asomo de su confianza y de su profunda y humana f@ow^^ Barahona"s protagonist is a real aann and his actionsg when the Devil appears in the form of his ideal .woman, are those one would expect of him. The rot© as a class is interpreted as a single man, •

Bdmundo Schettino (no published collection) is an amusing cuentista in ,MPotraneasoE* Carlota and Eugenia9 spinsters 9 take great pride , in their beautiful mare9 Garpurind:, When a stallion, ■

RetintOg appears on the scene and Carpuriha becomes pregnant, her mistresses8 affection turns to rejection (and actually jealousy), Schettino sits back and laughs at the attitude of his two old maids towards their poor “deceived”' mare*:

Juan Donoso (Tierra en Celot unpublished) is.a very sym­ pathetic author. His hero9 Aurelio Bravo (in mEl Roante®)$ is a good man, and deeply tied by bonds of affection to his horse9 the only thing of value which he possesses. During a round-up, a man asks to borrow Aureliojs mare, After a large-: amount of coaxing Aurelio finally gives in although with great apprehension. The borrower, having no respect for the horse9 soon runs it to .death« Poor Aurelio cannot even get the mam to reimburse him for the loss of the mare. His reae** tions of sorrow9 anger and finally passive acceptance of the event are skillfully portrayed, by the author. The reader can observe the workings of Aurelio*s inner mind, and his thoughts are laid: bare0 - : :i ; ■ - ’ : '

80 THE SOCIAL.TRBHDg J ,

Following somewhat belatedly in the footsteps of Baldo- mero Lillo are Horaero Bascuhan Cbo1901)9 Gonzalo Drago (bo1906)$

Leoncio Guerrero. (bol910)' 9 Washington Tapia Moore (bo 19140 9

Baltazar Castro (bo 1919) and Ernesto Solovera Providel (bo 1919)'«

Bascunan (Hombres de la Pampa) has written one story in particu­ lar 9 "Bon Pigua,® containing an'attitude similar to that of

Lillo=;: The American overseer 9 in his complete indifference t© the miners 9 is depicted very clearly» After Don Pigua^ a dihamiteroa has been killed by a delayed blast, Mister Hach© V- ' V-V ' : ' . : ' : - 2 0 - " : .. ■ - - ■ . - - reacts in the following manners ; ■

El-gringo9 sin.tener uh gesto de piedad para esos - , despojoS) y ni-slquiera una palabra de curiosidad para ■ los heridos; dice al practicante§ ; . : r ■. -“fiCarrambal Siempre el mismo payasadal |Suerte " - ^ ' que en esfa accidente no se mat6 hi una mulal „ = : . ^ wDon Pigua"^ : -

A Gonzalo Drago is perhaps- the most important among ;Lillo®s successors» In Cobre (1941) he describes the worker*s life in

■ the copper mine -951 Tenienteo61' m »».describe emoeionalmente y eon vigor esa existeneiad© esfuerzo y dolor proletaries* Pinta^ por una parte, el espiritu fatalista en que eae maestro pueblo,

, ^ y sus razonesi describe la injusticia y. la explotaelon; el menospreeio con que miran a los obreros, el arribismo de unos cuantos que, a pesar de las humillaciones, continuan serviles 21 hasta lograr sltnaclones mas o memos ventajosas , ^Mister

Jar a'" is typical of this last type of man, the servile arribista*

Rejected by his fellow-workers as a sycophant, and mocked by his superiors, Mr* Jara turns to alcohol for solace, and even­ tually dies of cirrhosis of the livero To the bitter end, however , he holds firm to his desire to rise above his station* .;

Una Casa Junto al M o (1 9 J+6 ) and Surcos (1948), Drago8 s two other collections, carry the scene to the country, but his social characteristics are still in evidence

The port becomes the scene of Leoncio Guerrero8 s social writings in Pichaman (1940) = 86La hey de los Peces® describes , the fight of old versus new ideas among the fishermen, with the old triumphant in the end * Several of his stories are concerned with the camppo but all show the basic elements characteristic of Guerreros bitter and sarcastic social criticism, individual-

22 ' ism, and psychological character penetrationo

Washington Tapia Moore (La Llmosna* unpublished) is interest­ ed in the urban lower class, and tries to determine in ®La

Limosnaf why it is they don1t revolt against their oppressors»

Baltazar Castro, back in the mining country (Piedra y Hieve) describes a revolt of the miners and their murder of the vicious ■ ■ ■ . / 121 overseer In ^Bebeliono® Ernesto Solovera Provide!* another miner9 describes the growing spirit of social restlessness in 8rLa Huelga” (Ocho Cnentos de Lnchas y Sang re o unpublished) s 'Jj . La IJoBoSoSo, en su potente eoro de fabridas y . de usinasj indieaba el eamino total de los pueblos j sus gestos hacian temblar los viejos moldes de las sociedades burguesaso Cay6 el canto como ave decapitadao ' Como un rebano .espantadd de ovejas ? surgia en cada obre.ro el gran sentido de la unidad 0 „i 9 el claro Tsentido de la confraternidad proletariat, '&®La Huelga^j .

9o THE PSYCHO-IMAGINATIVE TREED8g

Two tendencies in the contemporary short story are very closely uniteds the psychological and the imaginative„ Basical­ ly 9 they are differentiated in that the psychological cuente usually analyzes the mind o f ,someone other than the author? and almost always deals with real-life situations« The modern. imaginative short story (derived to a large extent from the works of d^Halmar3 Reyes, Prado and Delano) is m o r e .other-worldly in its locale, and is often a work of pure fantasyo

The psychological cuentistas in modern Chile are quite numerous * Mari Yan gMaria Flora Yanez de Echeverriaj (bol901)

Marta Brunet (bo1901), Reinaldo, Lomboy (bol910), Maria Luisa

Bombal (bo1 9 1 0 ) 9 Luz de Viana, Maite Allamand and Gonzalo Mera

(bo191^) are all coheerned with the inner person in their present-day writings* . • y

'' Marta Brunet has undergone a process of evolution» She is no longer a ruralista primarilyo Her first and last considera­ tion, as seen in Raiz del Sueno (19^9) is that of psychological 122 analysiso No specific locale can be attributed to the majority of her most recent stories« although some take place in an urban atmosphereo

' n La Nina que Quiso■Ser Estampa® is a good example of Marta

Brunetf s latest style = , 1 little girl9 Maria Casilda3 becomes ;, ;r fascinated by the word ^picture,,19 after being continually told that siie looks as pretty as one 3 and decides that she will turn into a :picture» The author traces the life of this little girl; examining her mental changes as she grows older„ Young men try to make love to her3 but Maria rejects them in favor of her v burning ambition0 The young girl wastes away, and ultimately . ; dies. At the moment of her death, she imagines two angels descend- ■ . ' pk ’ " ing from heaven-who have come to fulfill her desire s

^ oVolba por un camino de menudos caracoles que ; decian el mensaje de lejanas olas. Prados-enormes . d e . flores color de cielo bordeaban el camino', azulinas, sin nostalgia de, los trigales, nomeolvides ■ guardando una diminuta pepita de oro9 hortensias suntuosas como halda de infantlnao No toeaban sus pies los caracoles, se deslizaba por sobre ellos, . duleemente resbalando por @1 "toboggan" de la brisa. B1 camino termino de pronto b a j o u n arco y alii se quedS ella inmovilo . ■ Be miro los pies, que ahora sentia sobr® el , . suelOo Y al mirarse los pies se vio el traje, como nunca se 1© habia heeho■la ;abuela, tules flotantes de um elaro yerde, eon estrellas qu® refulglan entre sus pliegues sujgtos por tana estregha cinta de oro. Y en una mano tenia, un lirio carmesi de largo tallo y la otra mano en el aire se alzaba 1 ©n un vago gesto de adiosb ' - : ^ Fue entonces cuando aparecieron dos angeles .con dos grandes^tijeras, reeortaron de la vida la estampa eon:Maria Ca^ilda y s e la llevaron para fijaria en las galerias celestiales por todo la eternidado .V" ^ - : ;i; La Nina que-Quiso Ser Estampa88^

wSoledad de la Sangre” studies the psychology of an Imdiam girl. All her life she. has wanted to make something of herself. Forced Into marriage by her parents, she accepted their m i l hoping that this way her goal might be arrived at„ Once mar­ ried $ she devotes her life to working« What she earns her avaricious husband usually takes away» but she nevertheless manages to hoard some money<, While shopping one day? the woman sees a phonograph and falls in love with it. fhis5 to her, is a symbol of the life she would like to lead» Taking her savings she purchases the .record-player and two reeordSo These new possessions receive the best of care, always being gently handled and carefully polished. Ultimately, however, her hus­ band and a friend of his come home drunk. They want the woman to play the records for them, but she refuses. Then they try to impose their will on her by force, but she refuses. In the struggle, the phonograph falls to the floor and breaks. Heart­ broken, the woman rushes out of the house, running blindly.

She tries to.kill herself when she finally stops, but then calms down, and realizing that the union of her family and her duty to it are more Important than any machine, she decides to return to the arms of her husbando

The other stories in Baiz del Sueno, "Una Manana Gualqulera wLa Otra Yoz," ete0 are all cast in a similar mold to those mentioned e Mari Ian (El Estanque. 19^f g; Vislones de Infancia. 1947) writes in a 'style comparable to that-of Marta Brunet. Iny

Visiones de Infancla the author tries to analyze her thoughts as - ' . 124 a child. There is nostalgiaj a great deal of it, in these

fleeting visions of childhood<> Underlying the entire book,

however, is the central purpose of Mari Y a m she is seeking

to study the psychology of a child (herself) through describing

aspects of the child's life as it saw them. WE1 lino del

Retrato,f5 thus, presents young Mari Yanis thoughts as she gazed

at the picture of her deceased older brother. Still quite young,

the girl does not associate fear or sorrow with Death, nor is

• ... she concerned with why her brother died. Rather, she asks her­

self what he must have been like, wishing, in her loneliness,

that he were there to play with hero

Reinaldo Lomboy (no published collection) creates an in­

tense study of urban psychology in ®Sobre Todo, Cama.n The

; protagonist of the story, a woman, is told by her lazy husband

that if she wants to get money and nice clothes she can go out

on the streets. Determined to make her husband regret his

words, she does just that* Unfortunately, her attempts at

picking up men are unsuccessful, and, beaten mentally, she refr

turns home to her waiting husband and bed. <7 ' ■ • . Maria Luisa Bomba1 (known in the United States for her

novel House of Mist) has written only one short story, ^La

Ultima Hiebla” (from which, incidentally, the novel cited

developed)o In this .story, Maria Luisa Bombal ®presenta una

novedosa forma de dar a conocer los personajes com© el ambient©0

Deslumbra por las deseripelones y dominio de la vida interior6 a? ' ' ■ - / La maestria en hacer sentir el ©scenario y los estados animieos esta en el mso de clertas pineeladas Imppeslonlstas» Los rasgos pslcologleos se van revelando Imperceptlblementeo 1 # Eseenarlo y personajes mantlenen una relaclon dlrecta qn@ osclla entre la realldad y el suenOo cooLa vida Interior va paralela9 o se enlaza a los heehos reales <, 171ven asi los protagonlstas«, La acclon antentlea se eonfunde con los heehos imaginarioss o con los refleJos sngerentes del recuerdOo18^^

Lus d® ¥iana gMarfea Yillanueya de Bulnes^ has produced one collection of short stories to dates La Casa Miraba al

Mar (19^-8) o Five stories9 all rather long, are encompassed in its covers, and all of them deal with human psychology in one way or another = The title story is typical of the other fouro It describes the thoughts of a young girl, Gracia, who - is prevented by her excessive timidity from becoming a part of the world around her = Afraid to take part in the activities of the other young men and women, Gracia retreats to her mental playgroundc Upon the death of her beloved mother, this reces­ sion becomes even more notable=

' -Gracia*s favorite spot to dream in is the attic balcony of her house, where she can look out on the sea. The ocean becomes an obsession with her (as it did with d fHalmar, only in a different way)= At the end of the cuento, Gracia falls so completely under the lure of the sea that she walks out of her 26 house and into the water to dies Fu@ a medianbeheooo9 llevaba nn bianco traje de • lunac, y paso a paso sigmio la estela cioeo.9 of the moon 3 sobre el mar, el e&min© d@ los barcos perdldoso A medida qne avanzaba, se Iba hnn- ^ diendo lentamente9. sin vacilar, nasta qne qmedo solo afmera por un rato su cabeza? com§ una ; : bandera sobre el agua^ Cnando la volvl_a mirar 9 estaba lejos y no habia mas qne ■un ramo suspend didOg tm tr,enzado de oro y plata 9 enorme ramo que le habian hecho sns cabellos; entonees9 <» o o Venus derramo una lagrima sobre ©11a 9 y desap'a- recio del todo bajo el mar 0 : : ; - (^^La Casa- Hlraba al Mar6$^

Maite S,llamand has written very little of late. She is included in this trend by virtue of her story. "La' .Ventaha," men­ tioned previously. While not original in plot (it is the old story of people in a hospitals each one wishing to be hear the only window that they may see out 5and the one by the window eagerly recounting what goes on in the outer world. Eventually the reader finds out that the window looks onto a perfectly blank wall)j it is interesting in description. The author creates real characters? ones who live and breath. All are women? of yarying ages and social positionsj and their interest in the

•window, together with, their desire to be Its "possessor," are well-analyzed by the author«

Gonzalo Mera (El Solitario Maravlllado& 19^3) is perhaps best represented by his story "Quasimodo.^ The unfortunate life. of this hunchback, with the ability to see into the future becomes in; the story a study of abnormal psychology. "Cuasimodo88 ®dela una impresion por sus gestos un tanto anormales, pero que en sm interior llevan un suemo y una realida

.ean-g, and to determine the reasons for his actions. ®Um Yas© de EecheM is touching.in its picture of a starving and lonely man who finds food and affection in a small waterfront cafeo

Mr. Jaivass reactions (in '*La Aventura de Mr. Jaiva5®) 9 when he is mocked.by a clown while trying to present his act, are skillfully drawn. The love of a story characteristic of Rojas is to be noted in this book also, and while psychologically interesting, 11 Delincuente is not as thoroughly a study of human actions and reactions as are the other works representative of this modern trend< .

. Less concerned with psychology than with the imagination are.four contemporary cuentistass Ernesto Silva Roman, Jaeobo

Danke Juan Cabreraj, Osvaldo Megmann Ho (b. 1918) and Luis ;

Alberto Heiremans.. Silva Roman, Danke, and V/egmann H« deal with the fantastic story, somewhat akin to our modern science- fictiono Ernesto Silva Roman has published two books % El

Dueno de los Astros o and El Holandes Volador (19^9)° In the stories collected in the first book tspalpita la vida febril del futuro, la luz enceguecedora, las fantasias del ano 1(5,000, con sus rgiroplanos? gigantescos y sus maquinas aterradoras 2 B

The title story of El Holandes Volador is a re-working of the old wflying Dutchman8® legend in a Chilean setting. Some of the ; stories from this book contain: slight social implications

C^El Horabre Besus&dOs,85 for example), some are humorous

C*1 Tar jetas de Luton especially) , but all are fantastic« As an example of Silva Homin8s fantasy$ his "La Celula Mons= truosa" is superb. The plot is v%ry siraple'r a scientist 9

Roman de Aulestiaj isolates a brain, cello Like Donovan's

Brain9 the cell grows and grows* Aulestia tries to take it to Europe but? the will-power of the cell forces him to dis­ embark at the Juan Fernandez islands„ There? Aulestia discovers that the cell feeds on living beings» In additions it is able to attract ships through telepathic hypnosis. Consequently % the cell has no lack of food and continues growing and expand­ ing a Soon it covers the islands and then moves to the continent = Eventually9 it covers the worlds^ ' ■ '

La Tierra desolada y triste siguio girando con el Honstruo pegado a sx^ espaldaso La vida desaparecio casi por completo.o f Solo aquella eelula viviao, ; v . ^ • ' Cuando acabo con la especie humana9 mato a.los animaleso . In seguida encontrS la manera de hacer , llegar hasta sus fauces carduaanes inmensos de; peefes de todos^tamanoso Desde la gigantesca ballenac, hasta el pequemo crusfaceOo Hasta que nada qued6 . sobre la superficie del ' globoo : .. . ■ .Entonces el Poder cubriotoda la Tierrao T ’en su desesperaciSh infinita^en su loeura . tragica9 hizo estallar el globo terraqueo com© / ' uma granada demasiado rnadura o ; - • g18La Celula Monstruosa" g

All of Silva Roman8s stories are worthy of inclusion in

Imerican.science-fiction anthologies 9 and they are usually

quite well-writteno . ■ Jacob.o Danke travels outside of Chile in his La Taberna del Perro aue Llora0’ nsing Mexico as the setting for ail of . the stories sa,w# hRosa de los Vientos” and the title story = .

?6Rosa de los Vientos" is very similar to the nostalgia-lik© works of d 11 Kalmar and narrates the adventures of a young glrlg Cristina % who steals the c$Rosa de los VientosFr only to have it taken from her hy Poseidon= The following passage is typical of the authorrs hallucinatory styles^

Poeo a poco la luna vario de posicion. Shora sus trenzas calan en diluvio sohre lazrosa de los vientos; ista principiS a girar cOmo una helice y se formoz una enorme espiral de cabellos argentinos. Despues? eomo si el centro de la espiral se hubiese convertido ■ en tobogan? empezaron a; caer estrellas? trozos de astros erramtes? plumas de angeleSo 1 1 patio brillaba.lo mispio que un diamante roto en mil pedazos. Cristina vela an el teeho de su pieza el reflejo de las eosas que iban cayendo? y se hubiera levantado a recoger algunas; pero el miedo a divisar ardiendo a la ".. ;: - dis'taneia la arboladura del "Caleuehe98? o a percibir los nostClgieos oboes del MHolandi's Tolador’1? la retuvo presa entre las sabanaso g^Rosa de los Vientos^

The title story describes a man waiting for his girl» "When she arrives they enter a tavern and witness the strange spectacle of a dog that actually cries „ ®Xxtaeeihuatls La Mujer Dormida61 narrates the author$s adventures in Mexico City 5 how he meets a woman he Knows but cannot remember; how she takes him to; her : aphrtment; and how he wakes 1 up the next, morning not knowing whether it was a dream or not. The author is very skillful in describing his hangover ' / . ... ' '■ .. v . ■■ ' : '.. . ' : - - 11 Oh 9 j que ruidos en los timpanos! Alguiem me "ha despojado de mi cuerpo.. Es el ron? es la tequila? Ms6lo la piel vacxa me dejarono Bellenadme la piel 130 ’’con algo semejante a lo que era ml cuerpoo Qulen '*habr&•tlrado una colllla al suel^f El Cabaret ,ses un globo qn@ pugna por elevarse, Un son,, Cn wdanz6 ’n 0 No se qulen dijo que los crooners negros Mde las orquestas.de jazz tenian rlsa de piano= ^Rellenadme ml . cuerpo 0 = o68 . g flI±taeclliuatl9 La. Mujer Dormida®j

One characteristic of Dankefs stories is their nusicalityo

The author continually introduces metaphors referring to music 9 32 such as that in the last sentence of the following quotations

(Hop;, hops, hop 5, noble animalo Alimentate de • hierbas demidrgicaS; embriigate de leehe zodiacal; salta puentes de plata. La Ha v e de fa oseilaria como un ceneerro @n tu hidalgo cuelloo) g ME! Caballito Bianco^

' , • ■ ^ Osvaldo Wegmann Ho (El Tesoro del Canitan Garflo. Atavismo« both unpublished) continues the same fantastic vein of Danke and Silva Roman in his stories* "Oaleuehe" is a story based upon the Chilean legend of a mysterious unpiloted ship? the sight of which forebodes deatho The legend- forms part of the super- natural folklore of the island of Chiloe (from whence come many

of Chile’s mariners) and has been mentioned by a large number of

the cuentistas (efo Danke, surra:— wRosa de los Viemtos"

for. example) o '' . - - _' ' ,

; Luis Alberto Heiremans is a very recent author who is less

concerned with the other-worldly fantasy of his predecessors

than with that fantasy inherent in every-day life» los Ninos

Extranos (1950)«. although lacking in psychological interpreta­

tion, offers the same type of reminiscence seen in Mari Yanfs

Visiones de Infameia (supra) <> ' Los Demas (1952) has as the ; , ' . : 131 central theme of Its nine stories “nuestra Independeneia y partlclpaelon de los cosas j d@ los demas por el hecho simple ' ■ de haeer frente a tma clrennstancia The conclusion reached by the author in his.stories is that Fla circunstancia nos hade y nos deshacemos de ella.'; No somos en manera alguna seres 3lj. ■ ■ - . ' . ;- aisladoso" Hyperaesthesia is a recurrent note in all of the stories o ‘ .

10 o THE StJHREAhlST TREND s -

The final major trend to he found in the contemporary Chilean; short story is that of surrealism, Under the guidance and leader**, ship of Miguel Serrano (bo 191?) a whole school of surrealism has developed of late in the Chilean cuento o •Intending to define what the cuento meant to him, Serrano classifies it as ni m gemero

Intermedio? si se quiere9 ventre la novela y el poema? no debiendo existir 9 sin embargo5 cuentos poematicos 5 o M e n de narraciono

Bs asi un mundo proplo9 cerrado3 o abierto9 eon existencia en sij con su ley9 o con sus leyes propias9 con sus ddlores9 eon . sus placeres 9 con sus incomodidades y con sus comodAides propias»

Dive ese mundo como vive una piedra definitivas como vive un •

■ ' / " ' ■ ' ; ■ ' - ■ -V. •; /• ' ■ ' ■. pajarO b un sentimiento065Jy Furthermore 3 trsu fin es el de encontrar3 esforzadamentey un nuevo camino, y expresar la realidad de Chile a traves del cuento •; - v

The ma.1 or surrealist cuentistas in Chile are Miguel Serrano •

(bo 1917) 5> Teofilo Cld ( b o 19lt) 9 Bduardo AnguitaS; Braulio

Arenas 8 Anuar Atlas s,: Carlos Drognett 9 Jean Emar g Alvaro Yanez ? 132 ? Juan te j eda 2 Adrian Jimenez9 and Horaelo foledano y Marti (bo 1919)= Munoz and Emar are the only members of this group who differ from the others. Actually%

each could also be classed under the Imaginists0

: As. seen in these authors) the basic characteristics of

Chilean surrealism ar.es lack of any recognizable plot, me

central idea or theme^ subjective treatment of psychological phenomena, and a desire for poetical, expressiono

Eduardo Anguitas9 in "las Hormigas Devoran a un Sombre

Hamado David/* presents a rather confused story? presumably an

allegory9 with the ants representing the vicious world and

David ^ Frederick and Earl (the chief protagonists) three aspects-

of the author's personality. Highly subjective treatment and

rapid shifts of speaker do not tend to clarify what the author

is trying to say9 howevero

• "Gehenna $M by Braulio Arenas <, can be vaguely recognized

as a reworking of the Orpheus legend with a contemporary setting=

Here again, as in Anguitas? everything seems confused» " . ' v ' ■ • ■ ' - . ■ ■ I t’La Escala/8 Anuar Atlas* contribution; is slightly easier

to analyze, A filthy drunkard, Dominguez9 has a staircase

fetisho He has fallen in love with each step of the stairway .

which leads him to his bed after a hight of carousing, One

night9 stupefied; he believes he actually sees the spirit of

the stair in all her nude glory. As he tries to make love to /

her; another roomer comes along and.wins her affection. The

keynote of this story seems to be obscenity; as the author gives ■ '• ■ ; ; . 1 3 3 to everything s. more^tham~Freudian significance =

Carlos Droguettfs "El S.enbr Videla y su Paraguas" is of little interest, poetically or otherwise9 save for the fact that he makes use of a character (S

Jean Emar travels to Abyssinia and goes unicorn-hunting in -El Unicornio =,n The story is interesting in that it contains a legend of the unicorn which I have never come across beforeo

Apparently) when this mythological animal (which only lives in

Abyssinia) is discovered by a human? it vanishes completely) save for its horn9 which falls tb the ground* Taking root immed­ iately; the horn becomes a rose bush upon which one flower appears — a bloom which has the power of putting a person into : a perpetual death-like trance if taken internally« The author hunts the unicorn9 picks the flower9 and feeds it to his lover

(all of this while he is supposedly dead). , Then, when the girl is in her trance9 he puts her statue-like body.on his grave as a headstone =

,8Pibesa9w another of his cuentos* is more fantastic than

"El Unicornio" and contains a great deal of obscenity. The author chases his beloved9 Pibesa, around and around a.spiral stairway9 trying to persuade her to go to a band concert for which he has two free tickets. • Ultimately9 when the -pair arrive at the end of the stairway9 Pibesa is ravished by both her lover and the ticket-taker*

Juan Tejeda1 s' "Miedo Ante el Paisajesl discusses just what - :: . '■' ■ ■ ' ' ; : 134 . the title. Indicates s a man*.3 fear of landscape => The protagonist

of the story walks alone through the deserted streets of a city9

afraid of each tree and: blade of grass« Finallys he hears the

sound of a player^-piano in an all-hight bar and takes refuge

: there o.-- ^ ' b '

Adrian Jimenez presents a mh-Mer story in "Para Siempre cE

Pablo9 a consumptive, is strangled by Hernan, the lover of

Pablo's young wife Ana. Interestingly, in another -of his

stories? "Motives de Conversacion,” Jimenez'uses an identical

plot, adding only a witness to the assassinat1on„

Miguel Serrano (La Enoca Mas Qbscura0 19hl) is one of the •

clearer surrealists. Msuscuentos tienen un caracter originalo

poseen una a.tmosfera poco conocida, hay una voluntariosa ,

fantasia que transporta hacia lo enigmatico. Sus cuentos estan : : ■ ; ' .. . . , / ■ ■ ’ . _ tejidos con slementos irreales y humanos. Crea asi un singular , ' ' ■ - ' . f ' ' ‘ ambiente. El misterio del alma junto a la accion de la vida,

fluyen por un cauce de solida construccion: retoricaIn ' .

*rHasta Que Llegue a la Luzn appear not one but two Senor

Yidelas (cf=; Carlos Droguett, supra.). One of them is the true

Yidela, and the other is an imposter — just which is,which is

never made clear. The imposter (we presume) using the name of

Yidela goes on a trip to the mountains. laturally, whom should

he meet on the train but -the other Yidela (either the true or ;

false one). The story attempts to present the thoughts running

through the mind of each at the same time. As a poetic bi^mental study it is interesting9 "but the vagueness of the plot is rather disconcerting. Stilly the story is not so elusive as are some of the other examples of Chilean surrealism*

leofild Cid (Bouldroud Q 1942) shows many of the character™ istics of this trend. ‘’Bompe lo vulgar y 9 poco a poco?< nos - ■' ' ; ■ ' ' ' - : ■ y ■. :V: ; : ■ : acostumbra a cierto irrealismo de prolija observacionv Da impulSo y calor a los ens'onadores. Es un ambiente eon fisonomia original que inquieta y interesao68^ Horacio

Toledano y Marti c, in "Mada^" presents us with wun tono difuso d e 'bruma, tras el cual el tormento humano se retuerce9 intimo / 39 ■ L : ' - y desgarrado ■ ; - Chapter* W

; , : OOECmslOE : .. ■ ,v

The: major trends .in,, the..Ohilean. shar.t, story . have, been presented and, di,seus.sed in. the . preoedins pages.. . Observing the Ghl.lean . orehto. as .a who le 9 we ear divide it in to. four important, groups s.. the. urban# social^, imaginative-;, and,., rural,! and five groups of lesser, importances the pblitico.-critical5, costumbrista,% traditional, military. and surrealist. Developing, from the story of. polifleal., criticism, and- . the. cuadro. de oostumbres o. the Chilean cuento appears:. as a ■ literary, genre in the, last half , of the nineteenth; century * The. tradicion, and the cuento mill tar are the first to appear $, followed shortly by the. urban,, short story showing the influence of JMaturallsiflo . The. urban story» after 1900, is . < closely related to the cuento social of LUla# differing only in degree of concern with social problems and in choice of locale.* The imaginative short story.appears in the first, decade of the twehtieth century s as, does the rural cuento (in its first epoch)» Eventually8 the second and third phases of the rural story begin. By the 19301s all of these, trends; are to be found in the Chilean-, short story p some, more active than ■others*. During the contemporary periods all of these trends are being followed save pure

. ■ ■' . . ■ - ' 136 V - ' . ' . ' : . 137 ■oostuinbrl smo and poli tical , cri tioism^ The rural. ..story remains essentially the same In all. its phasesp with a larger amount of psychological treatment .in additiono The pure social trend attains, a greater number of cultivators> as. does also the .urban tendency*.

The story of the imagination, splits up to.a consider­ able, extent. in. recent times „ From the trend initiated.:by d 8Hs,lmar.$> Prado $,and,Heyes.i.evolve three slightly different ones & the surrealist^ psychological.^ and imaginative. tendencies®. All three are related, as. they deal, with subjective elements (the mind9 emotions^ etc®) in the individual;, yet they differ- slightly in regard to their characteristics®. ■

' .The trends mentioned8 with few exceptions ? are not basically unusual or unexpected$, considering the overall trends, of the. Latin American,ahort story.:®. ' The. Ohllean trends axfe identical with the general one3$, differing^ however? in, degree of popularity among cuentistaso This is to be expected, Chile being slightly different from many of its fellow-Latin.American nations in background, geog­ raphy, racial mixture9 etc®

Nevertheless, it can he said of the cuento chilenoiln general that it is definitely a product of the _ country’®. If the imaginative trend, with,Its ,ramif ieatlons,, is momen­ tarily excluded from the discussion,, then it can ’ be seen that all of the other trends have.as their fundamental motivation, a, desire ,on the part of . each ,autho.r. to describe, analj.ae$,or orltlGize any and. all aspects of their native country which ..are: inherently. .Chilean,®,.... This is the factor which Alves unity to the cuento, chileno ®

In the imaginative trends -this..patriotic zeal,is ..less easily identified, . although it may, e.xisto. There are logical reasons for the apparent lack of relationship between these. trends and the others® The, origin of the imaginative, type of short, story is, not autootono, to again quote .Ricardo

Eojaso. The cuento of the imagination is...derived,from, foreign literary,trends, and, from the cueniista8a individual manner of expression:®... Consequently., by its very nature this type of short story does not tend to; become excessively nationalistic o.

Taking into, consideration the, large humber of Chilean short stories g it seems, strange that so., few are known outside. Chlle.o, If we exeept Lillo<, then it. ls fairly . accurate to say that,: the :major Chilean, authors are known first for their novels and secondly. for their cuentos in other countries® Those ouentlstas not also writing novels are.. almost.. unknown®, ' . -

Hot all of the,Chilean.short stories are good,sty118= tically or otherwise® There ares however.s many cuentos possessing enough literary merit to warrant study«, "The main purpose of this thesis ..was, to present an analysis of trends in the Chilean short story® To fulfill this aim9 ■■ .. ' . V ■ ; 1 3 9 many ouentos efoll.eno.s-. have. "been, examined which are little knotras if at allg outside Ohile, In. doing so it is, hoped that this thesis has, given.. the reader., greater knowledge and understanding of the Chilean short story s i ts aims and its trendso HOSES

. Chapter One:

1® Mariano La to rr eg, Antologia de Ouenti stas Ohilenos (San- tia@o9,1:958)^, p b » ’Xxls,:4iSS» ^ ; 2 a Domingo Melfi Dcernareoa 9 Sstudios d® Li teratura Chile™ na s la. sarie., (SamtiaKOo 1938).n DD® 23Q.® - .

3o Raul Silva. Castroa Los Ouentlstaa-Ohilenos i (Antolo%ia) ; (SantiagOj 1938]:V,-PP® -528-^ '/ .-

. 4$ Mariano Latorre® La Literatura de Ohile (Buenos Airess

^ i94i)i 'sh®:. ir9 p^-' 1 2 9 - 1 5 8 0 • ; : '

5® Magda Arok9 Mariano.Latorre9 Hovelista Ohlleno Gontem- poraneo (l)9 ” Revista Iberoamerldana„ 5^ 9 (Mayos. 1942)9 pp0,1 2 1 ^1 3 0 ® . Vi;

6® Hicomedes Suzman0 Huevos Ouentistas Ohilenos% Antologia (Santiagb.jr 1941 ) 9 pp® 361.®

7o Francis eo:'Santana.r La .Hueva Seneracion de Fro si stas Ohj™ ' lenos g EnsayOi, ' BioKrafia. v Ref eren cl as Oriti'cas (Ban™,' . tiagOg 1 9 4 9 T 7 pp® 105«: • ' .

Ohap f e r. Two s . /

1 o ..According, to % ' .... a.® Mariano Latorre „ Antologla de Ouenti stas Ohilenos (Santiago s 1938)» ‘ y V b® . Lula Alberto .Sanchea.g in. his, introduction to Jose ' Vietorino ; Laatarrla. fs ®. E1 _M a m s crlt o, del ...Diablo g. Don Gu 11 lermo ?, Lima,- en 1830 (Santiago B 1941) ® ■ c® Radi Silva Oastro® Los Ouentistas Ohilenos 2 -(Anto™ . logla) (Santiagog 1938)® . and others.® ■ 2® Horberto Einilla Fuicag. "Panorama y Signlficacion.. del Mo vlmlento.. ..Literario. .de. 18.42 9 . p» 145 # in s Humberto Guenzailda®. et® al® ® Ohile s Oeografia^ Educacion™™ Literatura™-Legislacidn™™Economia°°Min®rla (Buenos ■ • Airess ,.1946).® ■ .. . ^ : ’ V ': -;

3o Fernando Alegrfa, l,Origenes del Homanticismo en Ohile 5

' . . 140 ' V V: ' . . ' . 141

Bello^^Sarmiento-— ls»starrlas u Guadernos Americanosn VI, SCSepto-Oetog 1 9 4 7 ) 9 pc. 1 8 6 0 . - . 4o ' I'bldo n- p-Qo I89"lg0»

5o Lastarriag opo elta, 0 p 0 2 7 » . . "

. 6 0 Ibid^o Po 42«

7 o Laterpe$, op» olt* po vlio

8 0 I b l d ^o. ppo 73”74o .

9» • Sll'ra Oas.troup .op« elt0 0 p 0 17,

10o Alberto E d w a r d s : In Introduotlon to Jose Joaquin Valle jo 8 s.s Qbras de Don Jose Joaquin Vallejo (Jotabeohe)?(Santiago9 191l) o Po ..xxl0- also, n 0 2 <,- lo&o. clto

1 1 .®-' U n l l l a .Fulea s, op. ® cit0 $, p o 147 ®

12o Norberto Flnllla Fulea 9 "Jotabeohe^" Kosotros0 11,111, : - ■lO.CEnero, 1937)s: PE,4 51==52-o/'.

-13e; Juan.Uribe EehevarPia, In introduetlon to Pedro Ruiz Aldea 1 ss Tlpoe j OostuMbres de Chile (gantiago Q 1947) 9 ' J Pk> X l X o . . . ■ ■ ■

14o' Vailsjo^ opo clt®s po xllli» (Edwards 8 Introduction)p

1 5 ®; Ibid® 9 :p®^2 6 9 ® ' : ;U

1 6 , Latorre.® op® clt® g p® vlll®

17o Loo® olt® IS® .Cited, from Julio Duran Cerda's article, 15Un Jotabeohe del Sur," Atenea® 0onoepol6nfl 245a No?®, 1945J bj ■ Juan Urlbe. Echevarria 9 op® bit 0 ®. p® xxxlx®

19® Ruiz.: Alobao o OPo. olto g p® 136® .

20o. Go S l i m Vildasola, In preface to Manuel Jesus Ortiz Espinosa's ® Cartas de la Aldeas Artioulos de Gostum- - bres Ghllenas (Santiago9 1948), p® 9®

-■ 21. Ibid.® 4 Po 14o . - ;■ :; 22o 01 ted from Pedro No Cruz, "Kuestra Literatura,.a Princi= pios del Siglo XK® Los Guentos®n Revista Ghilena® June,. 1 9 1 9 9 po 225, by Silva Castro„ op® pit®, p®77o . . ■ . y ; ■ ■ ; . . , 142 2.3o . .Shis paragraph Is bas.ad.upon Mariano L&torre s intro-' auction9 pp» T?yiii>_ to Daniel Riquelme1 saQuentos de la G-uerra y Otraa gaginas (Santiago 9 1931) °

24o Ibido 0 ppo xxiil^- xxw<,. .• . ■ = : : 23o. Rlau.elrae.tt. QUo ci.t0 p « 317& , ' y ,

26o Si.lir& Oastros. 0 2 , 0 eit» p ' p» l8 y

27o Ibido: y p-Qo 17-18o ' ' '

28o Latorre«. oq 0 cite-o p 0 . xQ y:. y:y • •

2 9 o Luis G-aldames a A ’History of Ohile (Chapel Hill 9 1941) s V'. . Po 327o ; , - , 9 ; . 30» fbis; paragrapfi is based upon Chapter X? in Qaldames$, y QPo cit 0 ' . - , : . : = 31 o Riquelmd,' op.o oito q p 9 xilo (Latorre * s introduction) 0

■ 3,2.0. .Ibid.,09 po .xiii-jij-..

33 o Silira Castro^ o p o cito 9 p * 23 0 .

34o Ibid^o p.o: 24^ V y ;■ 7 "

33o Rlquelmeo. QPo city« Po 8 9 .' ' y

■3.6• ' I b i d o , p p o 61-62.0 ' ' 7

37o Latorre« QPo clt0 0 p a 175o

38 0 Silva, Cas.tro'o - QPo clto o p.o 56 0

39 0 Latorre0: QPo citoV p.o- xli.o., ■

40 0 Hugo Da Barbagelatas La No vela y el Ouento en Hlspanp:- ' - ameri ca (Montevideo.!) 1947) 9 p o 2 5 0

.41 o S l i m . Gdstroi QPo ei.to.3 po 303o

Chapter Three i ; 7 ' r ' v :'

. lo' Luis Oaldamesp. A History of Chile (Chapel Hills 1941) 9 ; : po 282o ' , ' V - ; 2 o Arturo, Torres .R^os.e.o.O:m ... Ruben. Dariog...Qasticismo: y, Ameri- oanlsmo (Cambridge8 1931)» pp o 16-17» Also in Hran- • . qIsgo Contreras 7 Ruben Dario,, Su Vida 7 Su Obra ; ; ' * . ' ■ >. 1 #

(Ba-roelona-g 1 9 3 0 )s pp 0 5 1 -5 2 .o

3o Jose Santos G-onzalez Vera$, "Baldomero Llllo 9 11 in Baldo- mero Llllo 's,. Sub-SolOo 5a 0 ed 0 (Santiago $, . 1943)» po 2 0 5 0 . ■ ' ; . : • ; ■

4» See particularly what.;,Torres. Rloseco has to. say regard- : ■ ing socia,! literature in Latin..America^ its .two, as ' ' ' yet/unreconciled aspects; pure. propaganda-^ .and idealization of. social problemso Arturo Torres Rio-' seco 9 11 Gategorlas Literarlas $, in Ensayos. sobre Llte.ra.tura Latin.oameric.ana, (Mexico,o. 1955) ^ pp<>88-89 o

5 «■ • Mariano : Latorre $ AntoloKla de Quentistas CMIenos (San- . . tiagO g 1 9 3 .8 ) $, p® xv 0

6 ® Bicardo. Latehamg t8La Evolucion Social de Ohilej,” Nose- tros.. XV o' 6 „ 6 9 (Pic o 0 1941) 9 p® 246® . .

7o " ibid. t D® 243o : ' ■

8 ® Julio Qesar JObet9 “El Movimiento Social Qbrero en ; Ghiles n Atenea® XXVIJI a QW ?' 317-318 (Mov0-D1co a 1951),; P» 144o

9e , G-onzalez Vera 9 Ob® citoi pp®. 204-205® . '

10s Domingo .Melfi Dremarcoi„ Estudios de •Literatura Ohilena 00 la 'serie. (Santiago*, L938 in pp®. 1 5 1 - 1 5 2 Q . ,

11.® . G-onz4l.ez, Vera* obo clt® s Pbo 204-205. '

12o Gesar Jobet* op® cit®g pp® 146-147®

13o 'Ibid®.® Po 147® .

14®. Ibld-o„ Pbo 147-148® p '■

15o . Ibid® „ p® 149®

16© VIZo:. . . . a® Gonzalez Vera, op® oi1 0 0 p® 205®. . ; b® Mariano. .Latorre^, La .Literatura de Chile (Buenos I- Airess 1 9 4 1 ) 9 p® 146® ■ Co Melfi 0,.. QPo, cit.® 9 Po .149® , d®" Lais Alberto Sanchez 9 nueva Hlstorla de: la Lit era,- • tura Americana., (Buenos. Aires a 1944) 3 p® 357®

17o Gonzalez Vera® opQ- 'cito o p® 213,®

1 8 . 0 Luis Enrique Delanon Siete Guentos Ohilenos, (Mexico,

V 1 9 4 5 ) 9 P® 1 1 * - . . ■ ' : 144;

19o Baldomero Lillos Sub°Terra0 3a 0 ed0 (Santiago9 1943) »■ ppo' 30^31.o. - • . ' V;

20 o jLjtiKLjIo p p o 9 o

- / ' ‘ : ■ : ; . ' : . ' ■ ■ : : 21 o Delano„ 0 Po . olto »■ Po 19o

22o Baldomero LillOj, Sub”Terras 2a 0 ed« (Santiago^ 1931) s ppo 6l«64g as olted.% Ruth Sedgwlokp "Baldomero Lillo j Emile Zola/’ Re vista Iberoameri cana« VII 14(.Feb0.g 1944) a p* 325*

23o Delano„ on» cite0 pp o 14-15 o .

24= Lillo r, Sub=-Terra9 1943s p® 17 o

25 0 Lillos Sub°Terrafl 1931s pp» 66-77$ as eited by Sedgwiok, Q-p0 cit0 ;) .po 327o The portion enclosed in brackets is "from, the, 1943. edition, of Sub^Terra0 p, 6 9 *

2 6 0 Lillos Suto=«,Terms 1943j po 163»

2 7 o Ibldo 0 po 1 6 9 . 0 • ;. V : ' : 28/ , Oarlos Seura 'Salvo, Tloos Ohilenos en la Movela £ en el ■ Puerto Macional (Santiagog 1938) g p e 63e.

29o Ibldo o po 61o

3 6 0 Sedgwlcko. Obo';olto 0 Po ' 322o . -

31 o .Qonzalez .^Verao o'po Gito s Po 205 0

32:o Ibidoo po 210o

33o .Amando, Bono so Los ■Hu.ev&s^. (Valencia, 1912.) 9 p.o 39o

34o Alone Llernar Blaz.. Arrletaj s “Estado Actual de la Lite™ ratura Ohilema/’ Revista Ha clonal de Cultural XIVfl 98(Mayo-Junio3 1953)s P« 59o . ;■ .

35 o Delano, ono el to a p<, 62.0

36o Sanchez, opo olto& p* 357 0

37o ; Oscar Oerruto, "Panorama de la Sovela Ohileha," Sosptrps,• II, 5, 20(Sovo, I937)g., p« 399o .

' • ‘ ■ z ' A ' ' ' ■■ ■ = ■ . 3 8 0 Ventura Garcia Calderon, Los Me .lores Cuentos Americanos (Barcelona, n® do ) , .. pp.® 99, 109o

‘ 39® Antonio R® Manzor, Antologja del Cuento Hi soanoamericano . v . • " ' ■ ■ 145

(Santlagog. 1S58) 191.®-:: ■ ■ ' ■ - . ‘ / ' ' :-

4Do Angus to d 8 Halmar r Thomsom » Ma,r gK So .1 o e roman11 (Santiago 9 1945) , pp . 53-54., . : . . .

41 o . Manzor.P: opo Pit,, g p» 2390

42o Meifln: op.q clta 9 po 19. •

43 c, Oerruto.p op .. cl ten p., 399.

Z - - = ^ 44. Del an On op.o..clt-o0 p. 62.q.

45o Manzor, op, olt,, p. 249. . - ’ - : ' ' ' : t . ' ■ ' 46o Salvador Bovog Aptologla de Guentos Mexleanos e HIspa.no Amerl.oaB.o.s... (Mexicon 19237% PP. 117° 118° -

47o Manzorc dp, olt°, p. 250.0.

48, Salvador Reyes» Lo. ftue el Tlempo Deja (Santiago$, 1932) 9 p, 120,: The tattooed man (from the story l!EX Hombre . del Tatuaje" Is speaking), •:

4 9 , Delaho $ op, oit,„ pp. 6 9 -7 0 ,

50, Eelf.1, op. olto, p, 19. l. ; ^ ;

5 1 , Qerruto, op, olt,, p, 400, , ■ .

52 o Alone, op, olt, ,: p, o5. -

53, Delano, op. olt,, p. 71. .

54, Oarlos Arauz; de Robles,. "Mnerte en. Shanghai de Juan , _■ Marin v Humo Sin. Euegp.de Jose Sanz y Diaz,* Atenea, 0XII.g 339”340TSepto-0eto 9 1953) s p, 163,

5 5 , Mlgued de: Euenzallda/g. Alberto . Sdward8 ^.g Roman .Salvo .&= ■ SI. Sherlock Holmes Ghlleno, ed. w, int. & notes by Raymond L. SrlsHier and Mary B, Mae=>Donalds, Hew Xorks The Maomlllan-Go,v 1946s pp. vl»154, p

5 6 0 Hugo Do Barbagelata, Da Ixfovela y el Ouento en Hispano- amerloa. .(Montevideo^ 1947) a p, 9,

57, Melf 1..$, op. olt, 0 pp.. 13-14,

58. Ibid., p. 67, .

59o Ibid., p. 71 o /. Y’ " ■' 60 o Ibldo 9 pp o 107=

61« BarMgelat.a.s op.^, elbos Po 19»

62@ Mel£i o-. ouo oit« 9 p@ 104a

63® Lo Oq cito

64o. ■.Madm&r« op,o- ai1 0 fl p 6 ITS® •

6 5 o Ibldo., p® ITT® - 66, Latobre9 AntoloRia de Guexitlstaa Ohllenosfl pp, 179-130® ■

67o Melfig op,, olto, ppo . 111^-112, 68, Latorre9 Aatolodla de Ouentla.tas Q M l e n o s ,, p* xiv0

69o Latorr.e „ ..La. Li.t.aratura. de, Chile 0 p,. 1.45 °

70, Latorre. AntoloKla de . Quentlstas OMlenos» p® 408e

71» Melflg. op,, olt,, p, 107, Vl / , v . 72® Latorreo Antologla de Quentlstas G M l e n o S t, p® 271®

7 3 , ibid®, p® 2 7 7 o ' : :

74, Ibid,, Do 290, . : ■ . 7 / 7 V ^ : 1 . :

75 o Latorre $, La LI teratura de QhiI.e, p, 145, 76® Luis Alberto Sanohezs. In his prologue to Rafael Maluenda8 Arm 1 no Me^ro (Santiago 9 1945) $> pp, 13-14®

771 Loo, olt, . 78, Julia Garcia Games9 Qomo Los He Yisto Y o s (Santiago^1930) ' ' p, 170, j - ' , ' ,;,v-: . A ; . \ \ J ' . ,

79, Donoso, q-Po oit,.a p , 173,

80, Manzor0 op, oit,, p, 207, : .

81, Ibid,, Po 208, 82, Loo, oit, ' ' .' .

83, Ibid®, p, 204, ' ' . , 84, Latorres Antologla de Quentlstas Qhilenos0 p, xv. > 4 7

8 5 o Doaoso.o o'p0 cit0, p 0 173 o

86 0 Latorre« La Lltera,tura de Ohlle%, 144^

. 87o Manuel Ugarte9 La Joven Llteratura Hi spanoamerioana ; : (Farisp 1906)7 p» 155, ' -

887 Luis Alberto Sanchezs in prologue to Mariano Latorre1s9 On Fantai Los, .Oerrps (Santiago a 1943) 9 p 0 8«

89® Silza..;Gastro $: ■oo o, cit 0 p p o- 46o "■ ; . L t: : ^ ;

90 o Ibido o p o 47 o

91, Latorre.., ,.La.- Llteratura.-- de fShUua*, . tu 149 o 92® Latorre j, Antolo.p;ia - de Guentistaa Ghilenos., p® xvi 1 ®

95o ■ Silva,Gastro„ op® cite, o® 414®

94 9 . Magda^Areep. ” Mariano. Latorre 9 Ho veils ta Ghileno 0 on tem­ po raneo (II),11 Revieta Iheroamerisana, 5 s > 10(0eto 9 1942).p PPo 360=36l.o .

95 o Ibid®, part Ill5 Feb® p 1943 @ PP® 110=,111.® .

96® Mariano Latorre» Hombres y Zorros (SantiagoP 1945)a p® ■ 97» 97® Mariano Latorres GMlenos del Mar (Santiagos 1929) s, PP® I5 2 -I5 3 .® 98® Ibid® ® from the introduetipn by R^ieardo^ L^ateham^p p® 7 o\ - . ■■ : . ■ : ; J - . ■ 99o Latorreo AntoloKia de Guentistas Ghilenos® pp® xvii- XVlli^. 7 ; ' : '.' ; ' 100® Arcep op® clt.o s' part Ill.y p 0 104® . . . .

101® Mariano Latorre 9 Bus Me .lores Guentos (Santiago 9 1926) 9 / ; : p ®. 98.' o

10a® Ibid® p® 119o

1 0 5 ® Ibid® ® pp.® 148s 154-155 o

104® Ibid.® fl pp® 157-158®

1 0 5 ® Ibid®, n® 142.®.

106® Sanchezj in prologue to On Fanta (Latorre)® p® 10, V ; - ./ v ::: C . 148 107* Latorre, On Panto9 pp 0 22=23c

IO8 0 dagmto-.'-' op 0 si too p.o :396o . .

109 0 Logo clto .

110* L0 C 0 clto

lllo Q-ar.Qla.:G-aiH-es.q opo cltos Po 137*

112o Aroeg 0 P 0 elto 0 part II 9 p 0 362 0 ' -

113 0 La to me .. On Pantao Po 25 0

ll4o Anoeo OPo o-lt.o a part III 9 p » 112 0 ' ■

115 A Silva Castroo ODo olt0 9 Po 44 0

II6 0 Latome-n- AntoloKia . de Onentls.tas Qhilenos, p e xvllio

■ 117.0 Latonre.o La Llteratura de Chile, p e, 150o

1 1 8 <, Loeo- eito s /

: 119* Latorre<, AmtoloKla.. de. auentlstas dh.llenQs g p 0 372«, ;;' /

120 s Donoao 9 o P o cl too Po 101,® ...

121* LatorreP Antolo^la de Ouentlstas Qhilenos„ pp 6 372 9 3880 : • ,v - :

1 2 2 0 , IbLd* * p* xvlll,o'

123o Bernice Do Matlovjsky9 Antologias del Guento Americano: Quia. Blbll.ogr£fica, ...C%asiilnp;tona 1950) * Bpo 47 9 mimec «

124o In Silva G astro o op 0 cl to (18Por una Doeena d e . Buevos ■ Duros” ) o • — . , - i25a: .ibidoo Po 620 v: y" - : .

1 2 6 a Ibid* .0 Po ' 6 3 o

127& Manao.ro 0 0 * Cltoo Po 2210 . ■ - •

128o XuiSk^'Curand:,' Olelos. del .Bur (Santiago.a 1946) 0 The : quotation was taken from the .inside front cover*' Hern4n Biab Arrieta is presumed to be the critic since be is. the, general editor of the.-serieso

■ 129 o Seura Salvo „ opq clt05, pp 0 36=41. I30q Manzor, O'Oo Gito o Uo 2320

131o Delanos oju olto, go 600 .

1 3 2 0 Durands opo oit@s p 0 1389

133o Ibido., po 117p

134 0 Silva Oastro.p opo.olto, po 631

135»■ Delano.s opo olto«. p» 6 3 o

1 3 6 p Ibldo-, Pp. 9.1p . .. " : ' , 137p Manzorp opoC.ito« p» 260o.

.138» Maite . Allamand9 “La Ventana9” Atenea, XXVIII9 dill,. 315-31b(Sepl^0.clp.s 1951 )^,pp. 347p 139@ Latorreo Antolo^la de Guentlstas Obllenos, Po xlx0

Ghapter Four s - • • - ...... ^ ■ . :..il«. Francisco Santana, La Mueva Generac.lon de Proslstas Chllenos g Snsayoa.Blo^rafla y Eeferenclas GrCtlcas : . (Santiagog: 1949l@ p« 8p - -- : / -

,2p Mariano Latorr.e9 Da 1Ateratura de Ghile. (Buenos Alres9 ■ 1941) s pp» 153-154, ' " ;V" ■ ; ;

3» Loco d t p 4o Q-ulllermo.. Eoenenkampf.» "‘Hombres y Oaballoss euentos . de Olegario Lazo Baeza,0 ". Atenea,9 XXVIIIs GIVp 317-= 318 ( lov»-Dle.6 s 1951) 9 pp 0 .200»2Q1» . ,

5 o Nicornedes Guzman <, Nueyo s Guentlstas Chllenos s Antolo- . g£a (Santiago» 1941)s po 55° '

6 0 Ibldo 0 Po 143o

7o Santana^. Op..p-,cltp 0 :PPo 24-250

8 p Latorre.g opp.. oltpp po 156° . '

9o Manuel Rojas 0 El, Bone 1.0.Maullno...(Santiago^. 1943) sPo 154

10& Carlo# Seura Salvop Tlpos Ghllenos en la Hovela % en el • Ouento Eaolonal (Santiago^ 1938)3 Po 64*

U p Raul Silva Oastroy in the Introduction to Manuel Rojas' ■ ■■ ; : - ; .v , 1 5 0

Hombres del 3 ug (Santiagog 1926) 9 p 0 12® •

1 2 o .lbld.o.a p.c 1 0 o

-13o ■ I M d c $, p» - 21 a

14o Santanaj, op® cit® „ p® 20 0 ' - '

15 o P o 2 1 ®...

16.0 G-uzman<, op® oito „ p.® 153»

17o Ibido« Po'225®

IS ® Santana® opa cit 0« p 0 15®

19o Guzml/n„ op0 cito 9 p 0 205o

20 O I bid a q P a 52 ° ■ "

2 1 a Santanaa op® oitos■ p® 2 1 0

22a Ibido-n ppo 23~24o

2 3 ® . G-uzman® opo oit.o.i,: p® 354® 24® Marta Brunet), Ralz del. Sueno . (Santiagoa 1948) s pollO®

25e Santanaq.opo, oito9 pp® 44-450 ' 26® Luz de Vla,na [Marta Villanueva de Bulnesj P La Oasa Mir aba A1 Mar (Santiago® 1948) 9 p p » 71=72 0

27o San.tana.o 0 P 0 oito, pa 2 5 . 28 a Julia • Oarci a. Game s o 0 omo Los He Vis to Yo „ (Santiago $, 1930) Po 1 8 0 o : 29® Ernesto Silva Roman,, El Holandes Volador (Santiago g 1948) ppo 139“140.o '

30o Japobo Lanke ^ Miguel Oabreraj 8 La Taberna del Ferro one .;. ... .Llora (Santiago p 1945) 9 p o 13 o

: 31 Ibido,« ppo 34-35 o

32O Ibido 0 Po 50o

33® Gedomil G-olo,' "Los DemaSo oor Luis Alberto Heiremans9 11 Ateneao X3£XX.' 0VII19 329-330(Nov®-DlOa , 1952), po756® .

34a Ibido o Po 758o 35° Santanas on* cit0 0 p 0 9o

3 60 Ibid 0, P ®: 11.0

37® Ibldo a p 0 31o : ■ 38® Ibid®,® po 19®

39o Suzmanp op» cit® 0 p 0331o HO'EE

In this Bibliography the following abbreviations have been used;

BcdsKoGo — = Biblioteea de Eaeritoreg O-hlLenos B.oBe.Go.. =‘””•*' Biblioteoa.de Eseritores de Ohile G,»4,oO» . ==== Goleoeion de Auto res Ghi- lenos BsGoAoG© Bueva Goleecibn de Autores Ghilenos,'

Any q ther;abbreviations follow standard procedures o. BIBLIOGRAPHY — GENERAL

Books

Aguilera5, Francisco & Romero JAmess Concha:: Latin American Literatures- References to Material in Englisho ¥ash<= Ingt.on, Do C 0 s,, plVo of Intellectual Cooperation, Pan** American .Dnlong iP^LS- Pp0‘ 51, mimeo0 Almeyda Arroyo 9 Elias s Blop;rafia de Chile0 XV0 ede Santiago de Chiles: Imp0. San Francisco1950G Pp0 527 =

Barhagelata, 'Hugo Do sr La Novela % el Cuento en Hlspanoamerica Montevideo s no pub0 ,""194-7 ® Pp.® 7~32a-

Contreras 9 Francisco Ruhen Dario 0- Su Vida y Su Ohra0 Bar- celona?: Agencia Mundlal de Libreria, 1930a, Pp0 51-*520

Alone cDiaz ArfTeta9 He ma n t Panorama de la Life rat ura ChiLena Durante el Siglo XXV Santiago de Chile t Ed0 NascimentOg. 193iV Ppo 168» Donoso, Armando t: Los Nuevos (La Joven Literatura Chilena)o Valencias. F 0 Sempere j Cla, 1912®. Pp® 25-101, 161- 179 , 195-212 o '

GaldameSg Luis8: A History- of Chile {transl® & ed0. by . Isaac Jbslln Cox)0 Chapel Hills: HuiVo of North Caro­ lina Press 8 1941 o. Pp0 xiig 565e ' ' V . A,. : ' ■ ; Garcia Gamesp Julias: Como Los He Visto Yo® Santiago de Chile §: Ed® .NascimenfOj 1930®- Pp®. 297V ‘ ' " - • ' & ' - -' Garcia Oldinl« Fernando s. Doce Escri tores s: Hast a el Ano 1925® Santiago de Chile s: Ed0. Nascimentog 1929® Pp». 157

Latorre, Mariano, s:' La Lite ratura de Chile (Las Literaturas Amerioanasp IVlv Buenos Airess Instituto de Gultura ■ Latino-Americanap 1941® ■ Pp» vl 9; 208 0

.Maluenda, Rafaels Armlho Negro® 2ao. edo Santiago de Chiles; EdV Orbep 1945o Pp0 .7-22 (pr-ola de Luis Alberto Sanchez)

■ - > ' ■ . ';' Matlowskyp ,Bernice Dos AntolOKias del Cuento Americanos Guia Blbliografica (Monografias BibliograflcaSp III)e ' Washingtons: Hnion Panamericana.,. 1950® Pp0,. 47, •mimeoa - Melfi DE@marpbj» Domingo i 'Sstudios d© Literatura Ghilena g- la series Santiago de Chile: Ed®. Nascimento9 1938o’.. ■ Pp< 230o Payrd$ Roberto P® ? Hlstorlas de la Literatuna Americana,t Gula Bibllogr^fioa (Honognafias Bihliop;n&,ficas0 IX)' 0 Washington sT Dhlbn Panamericanaa 1950® PpQ 609 mimeo

RojaSg Manuel 8~ Lanohas en la Bahia0 0® A® 0® (Prolo de Alone.) ®,. Santiago de Chile s: Emp0 Letras9 n 0 d 0 Pp0 5= 11® ■;.■■ ■ : ■ . Sanchez£, Luis Alberto 8 Mue-va,. Historia de la Literatura Americanao Buenos Aires? Ed0 Americalee3 1944®. . , pp . 476 ® ::. ; , : Santana^ Francisco 8 La Nueva G-eneraoion de Pros!stas Ghilenos § En.sayo0 Diografia y Referencias Orlticas0 ■ Santiago de Chile§t Ed. NascimentOr, 19490 Pp® 105.

Seura Salvo 9 Carlosi: Tipos Ghllenos en la Novela % en el Cuento Nacionalo Santiago de Chile 8i Prensas de la Dniversidad de Chile 9 19380, Pp« 85‘o

Spell„ Jefferson Reas :Contemporary Spanish American Eic« tioho Chapel- Hilll: ltiiv0 of North Carolina Presss 19W% 0 Pp. 3=149 135=152, 269=286®

. Porres Rfoseeoa Arturo ?' Ruhen Dario s Casticismo y • Americani'smo0 ■ Cambridge s Mass0 8 Harvard Univ0. Press, 1931o Pp. 16-17o i La Novela en la America Htspana, Univ» of Calif"®.. Puho in Modern P h i l o l o g y 21, #2® Berkeley ? - Univ® of California Press, 1939o Pp. vii, 159=2560

; -g ete alo ? La No ye la Ihe ro ame ri can a ® Albuquerque ? UniVo of New Mexico Press, 1952® PpD x , ■2120

' - ? , Ensayos sobre Literatura LatInoamericana0 Mexico Fondo de Cultura Econdmica,1953® Esp® "Categorias Literarias,r! pp® 87=107® : Vaisse, Emilo: Estudios Criticos de Literatura Ghilena® Santiago de Chiles Ed® Nascimento, 1940® Pp. 303- 332, 375=379o '

Valdaspe, Tristans Historla de la Literature 5a® ed® Buenos Aires % Ed® F® T® D®, 1951® Pp® 359: 361® - . ■;

Wilson, Baronesa de ______El Mundo Literario Americano® v® I® Barcelona? Casa Ed® Maucci, 1903 Articles i: ■ . 155

Alegrlas Fernando s "Orfgenes del Romantlclsmo en Chile g Bello — Sarmlento Lastarria»" Cuademos Americanos.,, Mexi co 9 VI, 5 ( Bept o *=Octi 9 1947 )o Pp0 173-193. ' Allenp Martha B„ s %os Estllos de Hovelag: Marta Brunet. ,j Maria Luisa Bombal0 !l Revista Iheroamerlcanaq Mexl- cd. XVIIl; 35 (Cicop 19521 . Pp. 63-9lo Anderson's, Iheo do re i "Re senas g pomingo Melfl Demarco 9s Estudlos de Literatura Ghilena (la. serie)aw Revista lbero« amerjcanaj, Mexlcop 1I1.9 5 (Febo 9 1941)« Fp. 195-199. Araiiz de Roblesp Carlos ? "Muerte en Shan.ghai0 de Juan ' Marin y Eumo sin Fuego. de Jose Sanz-y DiazoM Atenea. ; ConcepciBnTChile') s XXX^ CXI1:8 339-340 (Sept .-Oct 0 s 1953) o Pp. 162-I64e ■ •; ' \

Aree9: Magda.s “Mariano Latorres Novelista Ghlleno Oontemporaneo . (l)oM- Revista Iberoamericana0 Mexico0 V 9 9 (Mayo3 1942)» Bp. 121=IWr“ Part II — Ibid. * 7, 10 (O c t 1942) . Pp. 359-281 * Part III — Ibidop VIp 11 .(Feb0p 1943)o Pp. 103-119. r Part IV Ibid.p VIp 12 (Mayo, 1943). Pp. 303-334.

OerrutOp Oscarg “Panorama d e : la No vela Ghilena 611 Nosotros 0 ■ Buenos AireSp U p 2a. ep. p. 5p 20 (Nov. 9 1937) = Pp. 393-407. : I ; ' Cesar Jobet 9 Julio g ; HE1 Movimiento Social Obrero en Chile.88 Atenea0 Concepcion (Chile)g Part I — XXVIIIp CIV% 317-318 (Nov.-Die.g 1951). Pp. 144- 168. Part II — XXIX, OVp 319-320 • (En.-Feb. P 1952). Pp. 66-93.

Chapmana Arnoldt “Observations on the Roto in Chilean Fic- . tion. 11 Hispaniap Califomiag 3^X11 j 3 (Aug.p 1 9 4 9 ). Pp . 309-314. ; : . ; . ' .

Chaves 9 Jose Marla $ 11 Cuentos de Vlento y Ap:ua. por Juan Marin.“ Atenea. Conceoclbn CChile). XXIXp OVp 319-320 (En.-Feb.p 1952)» Pp. 197-198. - -

Alone cDlaz Arrleta/ He ma n 3 g "Estado Actual de la Literatura Ghilenao11 Revista Naclonal de Gultura. Caracas „ XIVg . - 9 8 (Mayo^juniop 1953). P p . 59-67.

Dragop GoUzalo? “Breve Epistolarib de Oscar Castro 2.“ • Atenea. Concepcion (Chile)9 XXIX3 CVp 319-320 (En»- Feb. p 1 9 5 2 )0 . Pp. 40-50. : . • r ' 156

Durandp Luis S ' “El Pontramaestre„ nor Teresa Hamel0 “ Atenea.p ConcepcTdn (Ghile)P XKIXS GYg 319-320 (Ezio# : . PeTDoS 1952)o Pp0 18T“191o s "Desvelo Impacien.te0 per Virginia 0oxo" Atenea.-, • Ooneepcidn (ChileTT^iXp OVg 319-320 (En*-Febo, 1952)

Ppo 192-197o '

G-oics Gedomil s “Los Demasq por Luis Alberto Heiremans0“ Atenea, GoncepoiBn=TOIiile) 9 XXIXP 0VIIle 329-330 % "o-Dicop > 1952) p ^ Ppo 755-758 o -

Q-uamanp Hicomedes § . “Oomarca del Jazmino j Sus Me.jores Ouentbs0 de Oscar Gastro Z»“ • Atenea9 Goncepeidh (dhile)s ' XXXpGXIZp 339-340 (Septo-OctPp6 l47-150o

Imbert9 Enrique Andersoni: “Bpanish=»American Literature in the Last 25 Years 0 " Bootes -Abroad„ Oklahomag 27s 4 (Autumn, 1953) o ,Pp0 341=358 o

;ar* Jo Ro C JImenez Rueda, Julioj 1 • llHecrologicas ■ La Muerte .-de August© d 5Halmaro “' Resista,Iberoamerlcana9 Mexico, X7I, 31 (Julio5, 1 9 5 0 ) 0 Bpe 219-220o.

Koenenteampf0 Guillermo s “Hombres j Oaballosn Cuentos de OleRario Lazo Baeza0“ ■ Atenea, Goncepcibn (Chile)0 XX7III, CIV, 317-318 (HoVo-D-iCo.a 1951) a Pp. 199-201o

Labarca'Carat p.-Gustavo s . “Lahchas en la Bahia0 por • Manuel ROjas. “ Atenea, Concepcibn (Chile) XXIX 9 GVIIl, 329-330 (Nov 0 -Dieoa 1952), Pp= 763-766o

Latcham, Picardo: A.0 s “La Evolucion Social de Ghile0 “ ■ NosotroSo Buenos Aires, VI, 2a 0 ep ».9 Xf, 6 9 (Dioop 1941) 0

Lat or re s Marianos “G-Snesis y Evolucion del Guento Ohileno 0 “ Anales de la Dhiversidad de .Chile„ ■ Santiago, -XGY, 1937o pp* 1 1 - 1 3 * ;. . : - ; - . ■ ■ : .

Pinilla Fuica, No rberto 3 MJotabeehe0 ;M No sot ro 8 5 , Buenos Aires, II, 2a 0 epog III, 1 0 (En.ero9" 1 9 3 7 T ™ Pp 0 46-52=,

' “Panorama J Significaoion del Movimiento Literario de 18421 “ Pp. 139-166 in s Chile : G-eografla— Educacibn- Literature— Legi slacibuA-Economla— Minerja« . by Humberto Puenzalida, Amanda Labarca Ho, Norberto Pinilla Fuicas etc alo, Buenos Airess Ed 0 Losadas 19466;

'PuntOS: de Vistas Sobre el Eseritor Chilena0 i5 Atenea0 Concepcion (Chile), XXVI, XGIlg 285 (Marzo, '1949)0. Pp. 177-180 A ...... :. . - . 157 "Puntbs de Vistas Monumento a Jose Vietorino Lastarria0" Atenea, Oonoepoidn' (dhile)»■ m x g' OV, 319-320 :(En.-;: Fe"bo s. 1952) e *Ppo T - 6 0 : Reyesg Salvadors "Apuntes Sobre la Hovela y el Cuento en Chile o " Guademos Hispanoatiericanos 9 Madridg, 22 (Julo= _ Ago os 1951)0 Pp. 6 7 ^ T :

Roberto Saraha G 0 s "Juan Marin, el Aventureros Sus Ouentos v. de Viento y Aguao" Atenea, Gonoepcion (Ghile)s XXlXa W 9'32ri’Mtriori9527r^p0 "33W33.- Sanchez9 JosS s "HI Cuento Hi'spanoamericano o" .Revlsta lberoamericanaB Mexico,, JCVI9 31 (Julio9 1950j'o Pp«> 101*= # 2 A -" -

Sedgwick9 Ruths tiBaldome.ro Lillo y Emile Zolao" Revista IberoamerlcanaQ Mexico„ VII9 14 (Feb o a 1944)t Ppc 321=3280

s "German Colonists in Chilean Pictlono ” Hispaniao Califoraiag KXXlIp- 2 . (Mp.y9 '1949) o ■ Pp0 .l68-=171o . .

Silva CastrOp^-RaulS "La Literatura de Chiles Examen y . Refutaeion de un Llbro de don Mariano Latorrec " Revista Ibe ro ame rl c an a, Mexico/ VII9 13 (Nov 0 / 1943) o %)o 103=-128o

Vandercammehp Edmond s "Juan Marin9 Novellsta y Cuentista ChilenOo " Atenea9 Goncepci8n (Chile)9 XXVI9 XCII9 285 (Marzop'TJWo' Ppo 403-405 o- BJBLIQGR&gHT — SPURGE MATERIAL

AntholoRies'S

PelanoP Luis Enrique s Slet® Guentos Gbllenos & edc by L 0 Ed Delano) 9 Blblioteca En.olelopedlca Popular, #58o Mexico § Secre.tarla de la Educacidn Mbllcag. 1945 o PPd 91 o . •

Garcia-Calderon * . Ventura 1 . ■ L o s ______Guentos Americanosc .Barcelona 1 .Casa Edo Mauccld n 0 d<

Guzmang -Hleomedes% Huevos Cuentistas Ghllenos g Antologia (seld.p prol. y notas de Kf0 .Guzmdn) 0 Santiago da. Chile g Ed0 Gultura'p 1941o •'■Ppo 36lo .

Holmes 9 Henry Alfred § Spanish America in Soi and Storyt. ^ Hew York *:; Henry Holt & Go 0 9 1932 0 Ppo

Latorre p' Mar 1 ano °: Antolop;la de Guentistas Ghllenos'0. Bo Ed Go 9 XVo (Selo y prS’lo de M o : Latorre), * Santiago de 0 hil® 8 i no pubo p 1 9 3 8 0 Ppo xxig , 4990:

Manzorp Antonio R= ? AntoloKia del Guento Hispanoamerlcano - (compo' Wo .notes, by Ao Ho Manzors & int» by Salvador Reyes)o Santiago-de Chile? Emp 0 E d 0 Zig-Zag9 1939® Ppo 177-264c : ' . HovoD Salvador: Antologia de Guentos Mexicanos e Hispano Americanosc Blblioteca Bniversop I 9 2 D MexicoiEd0 ' Gulturap 1923o Ppo 1 1 7 -1 1 8 « Serranos- Miguel; Antologia del Verdadero. .Guento an Qhile ; ' (sel® y prol® de: Mo Serrano) 9 Santiago d® Chile?. Impo Gutenberg9 1938 0 Pp0 ;xi 9 234 0

Silva Castrop Raul? Los Guentistas Ghllenos? (selo9 prol» y notas de R 0 Silva Castro)® Santiago de Chile ? Emp 0 Ed 0 Zig-Zag^ 1938o Pp= 528o

Ugarte p Manuel s La' Joven Literatura Hi spanoamericana s Pequena Antologia de Pros1 stas y Poetas® Paris; Librena Aimiand Go" 108-1139 153-155o 158- 159 Booksi

Barrios 9 Eduardo : Farinas de u-n Bob re Diablo 9 2a 0 ed'B ■ ; ' Santiago de Chile s, Ede Nasclmento,. 1923® PpD 228 0

BrunetP Martas Ralz del Sueno„ B e do- E.0: GB Santiago de Chiles Bmpo -Ed,.:Zig-Zag, 1949o -Pp. 144= Contreras^ Franolsco8 El Pueblo Maravlllosos Pariss: Age n d a Mondial de Lib re rlas 1927o • Pp» 272 0

Danke9 Jacobos La Taberna del Perro que Lloral GuentoSo . Santiago de Chile s Ed 0 Cultura, 1945G .Pp 0 1540 .=

Durahdp Luis s Qielos del Sur„ Bo; do .Ea „ G = Santiago ’de . : , Chiles Empo Ed 0 Zig^Zagj, 1946e Pp 0 1 6 6 o ^ ■ ■ ■ ’■ ■’ ■ ■ ■ ■ ■■ ■■"' : ■' v ■ i. : • Fuenzalida, Miguel de ^Edwards, Albert0 3 r Roman Calve: El Sherlock Holmes Chileno* (Edo w© int o .& notes by Raymond L» G-rismer and Mary B G Mac-Donaid)® New Yorks The Macmillan Co d 9 1946© Pp© vi9 1540 . “ -

Lastarriaj, Jose Victorlno s El Manuscrlto del Diablog Don Guillermo g Lima; eh l850:7Tpr6lo y not as de Luis Alberto . •SanehezlT. Santiago de^Chlle S : Ed^ Eroilla^ 1941% PPo 248e : : ; , . ■ : / y : ' Latorre p Mariano s' Bus- Me jo res Quentosj Santiago de Chile S^ Ed©. Mascimento0 1926%. Pp© 2 9 4 1 • : s Ohilenos del Mar (int © d# R^icardoa L^at cham3)» , Santiago de Chiles Imp© Univ©rsitar1a P 1 9 2 9 © %)© 219*

- - ’ 8 On Pantas Los Cerros© 3ao ed0 (Pr6lo de Luis Alberto ."^ichizj© Santiago de Chile l Ed©- Ere 11 lag' ■ ■.1. : ::19430 Pp© I T l o i ; ' ■■■v;/-;-:- -..--;:

.; ' ' .' -- - s Hombres y Zorros 0 2a© ed© Santiago de Chile s Ed© NascimentOg 1945© Pp© 231©

s Puerto Mayor y Ohilenos del Mar© B© d© E 0 Ce:9 IXo (Prolo de Emilio V&lsse}Q Santiago de Chiles Emp0 Ed© Zig-Zagp 19.45o Pp© 292= •

: : , ..- s: Viento de Mai line ss 2a6 ede B 0 d 0 E 0: C© (Prol® ■■ de Milton" ROSselTo .r^antiago de Chile g Empo- Ed © Zlg- Zagp 1 9 4 7 0 Pp6 2 8 6 0 . ; - ; "

LillOg BaldomeroS Sub-Terra g Cuentos g Cuadros Mineros© ; ■ 3a© edd Santiago de Chile S . Ed0 has ciment os 1943%.. . . Pp© 243 © ’ . - . • • . i6o z •Sub^Sole. 3a6: edo (Contains a study on -Baldo* mero Lillo "by Jos© Santos Gonzalez Vera ) 0 Santiago de Chile s Sd« Haspiment Op 1943 o • 3?p0 250 0 Ortiz_ Ssplnosa, Manuel Jesus S Cartas de la Aidea: Artioulos ' de Costumbres OhilenaSq ,4a0 edo s B 0 d» Eo 0o (Juioio orftioo de G 0 Silva Tildasola)e Santiago de Chile I■ . Bmp® Ed 5 Zig-Zag^ 19480 Ep® 260o .

ReyeSg Salvadors Lo Q,ne el -Tiempo B©.1 a® . C0 A® C« (,Prol®. de Luis Enrique Delano)-0 Santiago de Chile z. Empo LetraSp 1932V : Ep» 1420 :

Riquelme9.Daniels Cuentos de La Guerra y Otras PaginasQ E 0 C 0 (pomp® por Mariano' Latorre y Miguel Vargas YelsCsquez j" int0 d'e Mariano Latorre) 0 Santiago de Chile § Imp® Universitarias, 1931* 3?p® xxxiiis 1»386^

Ro j as9 Manuel § Hombres del Sur0 (.ProI® de 0 R 0 Silva . Castro)V " Santiago de Chile S Ed® Ha,scimento9 1926® ; ; Epo 219 o ■ • . ' - : - v. : ■:

■ I T raves la,: Move las Breves 0 Santiago de Chiles Ed 0 MascimentOg 1934 0 Bp® 191o . . ' '

h r. .• . g ' El Bonete MaullnOo N.® C.o A 0 .0* (Pr8 l 6 de Jo So Gconzilez "Vera)V Santiago de Chile s ■ Ed® Cruz : del. Sur 9 1943« Pp 0 7“.10o

. ' - i El Delinouente® Bo do E® Go Santiago de Chile§r Empo Edo Zig~Zagg 1949* Pp 0 200o

Ruiz Aideaj Pedro? Tipos y Costumbres de Chile0 B*. d« E® Cog XXX (Prolo de Juan !Jribe«=>EchevarrlaJB Santiago de Chile ? Empo Ed® Zig-Zag, 1947 c. Pp® lxxvls 230*

Silva Roman, Ernesto El Holandes Voladoro B® do E 0 C 0 (Prol de Eugenio Or re go VietmaTT" Sant i ago de Chile?; . Empo Ed® Zig-Zags 1949® Epo 193® . '

Vallejo9 Jose Joaquin? Qbras de don Jose Joaquin Vallejo (Jotabeohe)®. B 0 E® C 0 5 .VIG ~(Biografia y Estudio Critico de Alberto Edwards)® .Santiago de Chiles: Imp® Barcelonas 1911® Pp 0 1 x 1 I, 51-2846 .

Vi ana 9 Luz de ^Villanueva de Bulnes, Mart a? ?' La Casa Miraba A1 Mar® B .0 do E .0 Co Santiago de Chile? Emp® Ed® Zig- Zag, 1948 o Pp® 243„ , - ' : . . , . ■ ■: , ■ ; -T;' 1 6 1

Yanezy Maria Floras VI si ones de Infancia9 B 0 d 0. E» 0# Santiago de Chile s EmiPo , EdQ Zig-»Zagp 1947o Ppo 133®

Separate Storiess

. All am and;, Maites nha Vent ana 018 Atenea, Concepcion (Chile) s XXVIII j,Gill s 315-316 (Septo-Octop. 1951)« Pp0 347-358,

- Durand$ Luis $ "En El Aserradero .^ . Jtenea 0: Ooncepolon (Ghile)§ XXIXs 0V, 319-320 (En0™Febo9 1952)o Pp* 19-23 =

QUzmans Hioomedes t "El Pan Bajo la, Bota0" Atenea^ Concepcion (Ghile)p XXX9 OX, 336 (Junio9 1953) , - Pp® 3.71-378®

Eojas9 Manuel I "Paneho .RoJas0.,:| Revista Nacional de Cultural Caracas, 95 (l\Tov0»DiCo s' 1952) o ' Pp® 65“69o