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El Veneno Y Los Remedios: Vida Y Muerte En La Narrativa De Mayra Montero

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El Veneno Y Los Remedios: Vida Y Muerte En La Narrativa De Mayra Montero Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2010 El Veneno y Los Remedios: Vida y Muerte en la Narrativa de Mayra Montero Jesus Castro Gorfti Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Castro Gorfti, Jesus, "El Veneno y Los Remedios: Vida y Muerte en la Narrativa de Mayra Montero" (2010). Master's Theses. 522. https://ecommons.luc.edu/luc_theses/522 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2010 Jesus Castro Gorfti LOYOLA UNIVERSITY CHICAGO EL VENENO Y LOS REMEDIOS: VIDA Y MUERTE EN LA NARRATIVA DE MAYRA MONTERO A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREEE OF MASTER OF ARTS PROGRAM IN SPANISH BY JESÚS CASTRO GORFTI CHICAGO, ILLINOIS MAY 2010 Copyright by Jesús Castro Gorfti, 2010 All rights reserved. AGRADECIMIENTOS I would like to give a special thanks to Dr. Olympia González for her support in the fruition of this project and for opening my eyes to the marvelous world of Caribbean literature. Her guidance and insightful comments were extremely valuable for the realization of this study. I especially want to thank Dr. Carole Holdsworth, Dr. Deni Heyck and Dr. Wiley Feinstein for being part of my committee as well as for sharing their wisdom with me during the past two years. Thanks also to the rest of the Modern Languages and Literature faculty and graduate students at Loyola with whom I had the privilege to work and to share ideas. I would like to show my gratitude to the librarians at Loyola University Chicago, Northwestern University and the Chicago Public Library for their professionalism and most valuable help. My most grateful thanks go to my family and loved ones for their cheerful support, infinite patience and unconditional love. Without them this project would not had been possible. iii To Kristina. ÍNDICE GENERAL AGRADECIMIENTOS..................................................................................................... iii ABSTRACTO.....................................................................................................................vi INTRODUCCIÓN...............................................................................................................1 CAPÍTULO I – CARPENTIER Y LO REAL MARAVILLOSO EN LA NARRATIVA DE MAYRA MONTERO .................................................................................................11 CAPÍTULO II – LA PREVALENCIA DE LO REAL MARAVILLOSO ...........................22 La trenza de la hermosa luna ..........................................................................................24 El veneno .....................................................................................................................27 Los remedios naturales ................................................................................................33 Del rojo de su sombra.....................................................................................................39 El veneno .....................................................................................................................41 Los remedios naturales ................................................................................................47 CAPÍTULO III – DE LO REAL MARAVILLOSO HACIA LO COTIDIANO..................56 Tú, la oscuridad ..............................................................................................................57 El veneno .....................................................................................................................58 Los remedios naturales ................................................................................................70 Como un mensajero tuyo................................................................................................74 El veneno .....................................................................................................................76 Los remedios naturales ................................................................................................82 CONCLUSIÓN..................................................................................................................88 BIBLIOGRAFÍA ...............................................................................................................91 VITA..................................................................................................................................98 v ABSTRACTO The purpose of this study is to demonstrate the important role that certain elements—namely poison and natural remedies—play in the narrative of Mayra Montero. Poison and natural remedies are an intrinsic part of the Voodoo and Santeria religions, which are the framework for her novels. Within these religions poison serves a dual purpose. Montero’s characters employ poison not only for personal gain—and in their struggle against the establishment—but also for more beneficial means, for instance as a way of obtaining food. Natural remedies are part of the magical-medicinal nature of these religions. They maintain the physical and spiritual well-being of the characters while strengthening relationships within their communities. This analysis is based on four of Montero’s novels: La trenza de la hermosa luna, Del rojo de su sombra, Tú, la oscuridad, and Como un mensajero tuyo. Foremost, we argue that Montero’s use of poison and natural remedies in her novels counterbalances the influence of lo real maravilloso, a concept that originated with Alejo Carpentier. For instance, we see Montero using these elements to describe the life and customs of her characters in a realistic manner. Moreover, we highlight the similarities and differences between Carpentier and Montero in order to illustrate his influence on her work. In addition, we make the claim that although lo real maravilloso is present in Montero’s novels, the progression of her works indicates that she is gradually departing from the “marvelous”. As we move chronologically through Montero’s v i novels, we discover a shift from lo real maravilloso to a more socially conscious view of Afro-Caribbean culture. This is most evident in the transition from Montero’s earlier novels, La trenza de la hermosa luna and Del rojo de su sombra—in which she emphasizes the “marvelous” aspects of the Santeria and Voodoo religions—to her more recent novels, Tú, la oscuridad and Como un mensajero tuyo, which focus more on social and personal conflicts. Finally, this study pays tribute to Montero’s deep interest in Afro-Caribbean cultures and the problems that afflict them. vi INTRODUCCIÓN Mayra Montero es una de las escritoras caribeñas más prolíficas de la narrativa contemporánea. Montero nació en Cuba en 1952 en donde vivió hasta 1960, año en el que su familia se vio obligada a abandonar la isla por razones políticas. Después del triunfo de la Revolución Cubana, el padre de Montero, un reconocido escritor de guiones de radio y televisión además de actor, tuvo fuertes enfrentamientos con el régimen de Fidel Castro debido a las ideas expresadas en sus programas. El padre fue finalmente sancionado por el nuevo régimen y en el año 1960 la familia de Montero se mudó a Puerto Rico en donde la autora ha residido desde entonces. Montero realizó estudios de periodismo en México y en Puerto Rico y comenzó a trabajar para el periódico puertorriqueño El nuevo día a los veinte años de edad. Unos años más tarde, Montero se convertiría en corresponsal en América Central y el Caribe para el periódico más importante de Puerto Rico, El Mundo. Este trabajo realizado como corresponsal permitió a Montero conocer de primera mano los acontecimientos más importantes que ocurrían en el continente. La experiencia profesional como corresponsal periodístico le proporcionó a Montero las herramientas más útiles para su incursión en la escritura de obras de ficción: “It has given me flexibility, ease in front of the blank page, and something more important… an economy of language which is the result of journalistic practice” (Prieto).1 1 Cita de Mayra Montero en la entrevista realizada por José Manuel Prieto publicada por la revista digital Bomb. 1 2 La carrera literaria de Mayra Montero comenzó con la publicación de un serie de cuentos cortos titulada Veintitrés y una tortuga en 1981. Dentro de esta serie de cuentos es Corinne, muchacha amable el más conocido y el que recibió las mejores críticas. El argumento trata de una joven haitiana quien acaba convertida en zombi por su pretendiente como venganza de éste por haber sido rechazado. El argumento se desarrolla en el Haití de Jean Claude Duvalier y con el trasfondo de la violencia de los tontón macoutes. El debut novelístico de Montero se produce en 1987 con la publicación de La trenza de la hermosa luna, novela que quedó finalista del IV Premio Herralde. Montero ha publicado un total de nueve novelas, algunas de ellas recipientes de importantes premios literarios, y una serie de ensayos cortos que han sido publicados por el periódico El Nuevo Día. La calidad y cantidad de la obra creada por Montero la convierten en una autora importante
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