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Invisible Geographies: Oil, Time, and Ecology in Venezuelan Cultural Production

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Invisible Geographies: Oil, Time, and Ecology in Venezuelan Cultural Production Invisible Geographies: Oil, Time, and Ecology in Venezuelan Cultural Production By Elizabeth Barrios A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in the University of Michigan 2016 Doctoral Committee: Associate Professor Katharine M. Jenckes, Chair Assistant Professor Nilo Couret Associate Professor Colin Gunckel Associate Professor Daniel Noemi Voionmaa, Northeastern University Professor William R. Paulson © Elizabeth Barrios 2016 To the anonymous Tochitos, Enguerrands & Phoebes. In hopes you will be taken seriously. ii Acknowledgments I want to begin by thanking my committee. Working with Kate Jenckes has unquestionably made me a better thinker and scholar. I cannot thank her enough for her guidance and generosity in the last few years. Daniel Noemi’s intellectual curiosity and openness are a constant reminder of why I like this line of work. He is the type of scholar, teacher and mentor I wish to be. Colin Gunckel continually exposed me to fresh perspectives, and helped me think more carefully about the strengths and challenges of interdisciplinary work. His enthusiasm has often been a source of confidence and motivation. Were it not for Bill Paulson’s seminars, I doubt I would have challenged myself to write about oil, time, and ecology. He not only opened a world of ideas for me, but also helped me believe that this project was worth pursuing. Thanks to Nilo Couret’s incisive feedback, I have a better understanding of my own project and its possibilities. As I move forward with this project, I am particularly indebted to Nilo’s suggestions for how I can reframe my ideas. In addition to the thoughtful members of my committee, many people have read earlier drafts of these chapters, and this dissertation is greatly improved by their input. I want to particularly single out The Sweetland Center for Writing, which gave me the opportunity to take a seminar on writing and to participate in the Dissertation Writing Institute, two experiences that made me a better writer. My workshops with Susan Abraham, Melissa Gelinas, David McClure, Richard Mwakasege-Minaya, Katherine Lennard, and Dana Nichols were a turning point: I had begun doubting the merits of this project, and all of you reminded me of it. My workshop with Robyn d’Avignon, Jessica Stephens, Jeremy Ledger, Liz Harmon, and Talia Gangoo helped me turn an unpolished fragment of this project into the piece of writing of which I am most proud. Paul Barron’s sharp feedback and enthusiasm altogether changed the way I think about my work and writing. I left every one of our meetings feeling reassured that I had the ability to complete this project. My time at the University of Michigan has been immensely enriched by a group of outstanding faculty members: Amy Carroll, Teresa Satterfield, Cristina Moreiras, Giorgio Bertellini, Catherine Brown, Gareth Williams, Sheila Murphy, Markus Nornes, Alejandro Herrero, Jaime Rodriguez-Matos, Javier Sanjinés, Gustavo Verdesio, Peggy McCracken, Dennis Pollard, María Dolores Morillo, and Michelle Orecchio. Thank you all for helping grow as a thinker and teacher. I particularly wish to thank Andrew Noverr and George Hoffmann for your kindness and encouragement during the job search. The faculty at Knox College were a source of courage, inspiration and invaluable guidance. Thank you Tony Prado, Lori Schroeder, Tom Marasa, Barbara Tannert-Smith, Natania Rosenfeld, Emily Anderson, Penny Gould, Gina Franco, Tim Foster, and the staff of the Ronald E. McNair Program. I majored in English and Spanish because of the courses I took with Rob Smith and Robin Ragan on my first year at Knox. From personal experience, I can say that both iii are the types of professors that change students’ lives, and I will forever be grateful for their continued support. The company and presence of my peers has contributed immensely to my personal and intellectual life. Thank you Pedro Aguilera, Roberto Vezzani, Angelica Serna, Orquidea Morales, Arcelia Gutierrez, María Robles, Pierluigi Erbaggio, Camela Logan, Emily Thomas, Abigail Celis, Martin Vega, Brian Whitener, Sam Heidepriem, Dimitri Pavlounis, Daniel Hershenzon, Priscila Calatayud Fernández, Adam Fulton Johnson, Mariano Olmedo Gómez and Courtney Ritter for helping me enjoy these seven years of graduate school. I also want to thank the members, officers and staff of the Graduate Employees Organization for their tireless work in ensuring the well-being of graduate students at this university. Thank you to Joe Breakey, Deborah Hartman, Linda Conlin, Juan Carlos Velasco, and the staff at the Edward’s Cancer Center in Naperville for everything they do to improve people’s lives. Michelle Guiffre, Latasha Kelly, Simón Ramírez, Cecilia Ramírez, Graciela Ramírez, and Miguel González, thank you for all your help when I immigrated to the United States. Rachel Brown, Matt Baker, Henry Eduardo Ramírez, Dina Andrioupoulos, Molly Nicholas, Daniel Hoffman, Mike Payne, Alex Lindsay, Sarah Williams, Caitlin Moloney, Neil Richter, Viktor Potok, Laura Howes, Lauren Cedro, Daniel Guzman, Emérita Urdaneta, Thalia Paparoni, Mary Picón and Molly Rosman: our time together has been the most important part of my education. What I think and who I am today is a result of our friendship. You are the reason the United States became my home, and why I still dare to hope for a more welcoming and just society. Thank you Julia Goings, Linda Goings, D.C Goings, Noa Iacob, and Aziza Ulaby for welcoming me into your communities. You are a great reason I am happy to stay in Michigan. I especially want to thank Silvina Yi, David Collinge, Anna Mester, Paige Andersson, Tony Andersson, Catalina Esguerra, Jocelyn Frelier, Mary Renda, Patrick Schmidt, Nick Metheny, Rachel Tenhaaf, Erika Almenara, Nathan Koob, Karen Frazier, Charlie Frazier, Gabriel Horowitz, Juanita Bernal, Yuki Nakayama, Shannon Dowd, and Laura Herbert who, along their company and friendship, provided immeasurable support in times of personal and professional challenges. I will forever be touched by your thoughtfulness and generosity. María Rincón, her children and grandchildren: I wouldn’t know where to begin expressing my love and admiration. I have you to thank for a happy childhood—perhaps the greatest gift one can give a human being. Edgar, Merly, Elia, Carolina, Cesar, Gabriela, Jeremy, Daniela: your incessant love and faith in me are a constant source of strength and meaning. Dylan, thank you first and foremost for leading me to adopt Babou and Margarita, thereby turning me into a most fervent lover of cats. (If you could understand human language, I would thank you, Babouse and Fritters, for keeping me company with your purrs and demands for attention while writing this dissertation). I also want to thank Dylan for his joy for life, high- pitched laugh, answering me every time I ask whether I should use “in” or “on” in a given iv sentence, and for slowing down the completion of this dissertation by getting me hooked on stories about local bureaucracy, the collapse of the welfare state, the perils of free market capitalism, and allegories of climate change in the form of dragons and ice zombies—at least that’s how I interpreted all those shows. v Table of Contents Dedication .……………………………………………………………………………….. ii Acknowledgements ……………………………………………………………………… iii List of Figures ………………………………………………………………………….. viii Abstract ………………………………………………………………………………….. ix Introduction .……………………………………………………………………………....1 Chapter I. Before and After Oil: The Idea of Nature and Its Ecological Limit Introduction ……………………………………………………………………….. 6 Locating Nature……………………………………………………………………10 Writing the Venezuelan Landscape………………………………………………. 18 Literature, Geography, and Conquest In Rómulo Gallegos’ Doña Bárbara……... 25 Oil’s Ecology …………………………………………………………………….. 31 Conclusion ……………………………………………………………………….. 43 Chapter II. Extraction: Oil’s Invisibility and The Novel of the Oil Encounter Introduction ……………………………………………………………………… 45 Mene in and out of Place ………………………………………………………… 49 Smooth Surfaces and The Magical State in Oficina No. 1 and Guachimanes …... 66 Irruptions of the Past in Memorias de una antigua primavera …………….……. 88 The Oil Town as Liminal Space…………………………………………………. 106 Conclusion ………………………………………………………………………..112 Chapter III. Circulation: Vanishing Limits, Oil’s Magic, and Their Narratives Introduction ……………………………………………………………………… 115 This is Not a Petronarrative…………….…………………………………………118 The Comforts of Home …………….……………………………………………. 126 The Nation’s Uncanny Objects ………………………………………………….. 135 The Melted Country in Un retrato en la geografía ……………………………... 137 Magical Thoughts in Estación de mascaras……………………………………... 144 Realist Magic ……………………………………………………………………. 157 Conclusion ………………………………………………………………………. 160 Chapter IV. Pollution: Screening Invisible Ecological Damage in Nuestro petróleo y otros cuentos (2005) Introduction ………………………………………………………………………162 vi Controversy ………………………………………………………………………164 Repetitions ………………………………………………………………………..167 “Flesh and Blood” Venezuela ……………………………………………………174 Mixed Images, Tangled Temporalities …………………………………………...180 A Reading of Nuestro petróleo y otros cuentos Delayed Symptoms and Silent Catastrophes …………………………………….. 189 Oblivion: What Remains of El Hornito ………………………………………….. 194 Conclusion ……………………………………………………………………….. 198 Works Cited ……………………………………………………………………………... 204 vii List of Figures Figure 1.1 Eulogio del Pino twenty days after the Guarapiche
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