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Thematic Content and Style in the Narrative of Alfredo Bryce Echenique (1990-2002): a Consideration of Fantasy

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Thematic Content and Style in the Narrative of Alfredo Bryce Echenique (1990-2002): a Consideration of Fantasy Thematic Content and Style in the Narrative of Alfredo Bryce Echenique (1990-2002): A Consideration of Fantasy Helene Price University College London Dissertation submitted for the degree of Doctor of Philosophy October 2005 Contents 1. Introduction • Biography 1 • Justifications and Aims 6 • Overview of Style and Thematic Content 10 Recurrent Themes in Bryce's Fiction 10 Steme: A Major Influence 14 Oral Register and Digression in Bryce's Fiction 18 Forms and Uses of Humour and Irony 25 2. Socio-Political Background 31 • The Oligarchy in Lima 32 • Political Climate in Peru 1948-1990 49 • Velasco's Manifesto 65 3. Dos senoras conversan 70 • The Symbolic Function of Death in the Novella 75 • Circular Time and Object-Memory Stimuli 85 • The Onslaught of Modernity: The Beginning of the End 92 • La Crisis: The Spheres of the Public and Private Collide 99 • Racism and Resistance: Maintaining the Status Quo 102 • Retrenchment and Nostalgia: History Repeated 107 • Popular Culture 112 • Literary Allusions: Interpretations and Misinterpretations 117 • Conclusion or Back to Page One 122 4. No me esperen en abril 128 • Continuations 129 • Alienation and the Sanctuary of the Imagination 135 • Autobiographical Echoes 141 • The Function of Dialogue 143 • Oligarchic Attitudes: Nostalgia, Exclusion, Snobbery, Racism... 148 • Unmasking Reality: Humour and Irony 151 • Popular Culture and Identity Formation (1) Cinematic Influences 156 • Popular Culture and Identity Formation (2): Musical Influences 161 • The Many Sides of Love 165 • Internal Migration and Fear of Contamination 172 • The Lower Classes: Tales of Non-Identity 179 • Political Backdrop 181 • The Demise of the Oligarchy: The Inability to Forget the Past/ 192 Move Forward • The Demise of Manongo Sterne: The Inability to Retrieve the 197 Past/Go Back • The Convergence of Life and Literary Creation 206 • The Function of Literature 208 • Conclusion 215 5. Reo de nocturnidad 218 • Origins of a Novel: Autobiography, Memory and a Short Story: The Convergence of Life and Fiction 222 • Writing the Self: Oral Register and the First-Person Narrator 228 • Self-Reflexivity 234 • Humour and Literature as Therapy 238 • Memory: Catharsis and Deception 241 • Alter-Egos and The Double 245 • The Destructive Potential of Love 250 • Theatrical Metaphors and Music: Fictionalising the Self 254 • The Anguish of Exile: Marginalisation and Nostalgia 263 • The Camivalesque and Alienation 270 • Constructing the Text: The Osmotic Nature of the Fictional and Non-Fictional Worlds 276 • Conclusion: Psychological and Geographical Dislocations Reconciled 283 6. El huerto de mi amada 285 • Oral Register and Heteroglossia: The Clamour for the Parole 292 • Reader as Interlocutor 299 • The Meta-Narrator 302 • Aural and Visual Narrative Strategies 307 • Intra and Intertextual References: The Reader's Role in the 311 Construction of the Text • Popular Culture and Music 322 • Parody 327 • Fantasy in El huerto de mi amada 335 • Socio-Political Reality in El huerto de mi amada 344 • Conclusion: The Past Reconciled 351 Conclusion 355 Works Cited 365 Chapter 1: Introduction Biography Alfredo Marcelo Bryce Echenique was born in Lima on 15 February 1936 into 'el seno de una vieja familia aristocnitica del Peru' (Ferreira & Marquez (eds), p.l5).1 His father was the director of the Banco Internacional del Peru, whilst his mother was a descendent of the Basque family, Vera del Bidasca, who counted amongst her ancestors a Peruvian viceroy and a president, Jose Rufino Echenique (1808-1879). Perhaps as a result of his illustrious ancestry, Bryce has been constantly typecast as a member of the Peruvian elite. However, far from embracing his heritage, Bryce has said of the former President who governed from 1851 to 1855, 'no solo ya hubo un presidente con mi apellido, sino que fue el peor' (Coaguila, p.74).2 In the same vein, Bryce has consistently tried to distance himself from the label of 'oligarch' that has been bestowed upon him, even alluding in an interview to his decision during his youth to make a, 'rompimiento profundo con [su] clase social' (Coaguila, p.17).3 It is repeated comments such as these that have led to Bryce being perceived as the 'enfant terrible' of the Peruvian oligarchy, a label that the events surrounding the publication of his first novel further contributed to. In his compilation of 'anti-memoirs', aptly entitled Permiso para vivir (1993),4 Bryce humorously describes the controversy surrounding the appearance of Un 1 Cesar Ferreira & Ismael P. Marquez (eds), Los mundos de Alfredo Bryce Echenique nuevos textos criricos (Lima: Pontificia Universidad Cat6lica del Peru, 2004). 2 Angel Paez, 'Entrevista: Soy un escritor mas rebelde que nostalgico' (1991), in Jorge Coaguila (ed.), Entrevistas escogidas (Lima: Fondo Editorial Cultural Peru ana, 2004), pp.71-77. 3 Cesar Hilderbrandt. 'Entrevista con Alfredo Bryce' (1972), in Jorge Coaguila. Entrevistas escogidas (Lima: Fondo Editorial Cultural Peruana, 2004), pp. 13-23. In another interview Bryce has described, 'la distancia que con el tiempo he ido tomando frente a esa clase social', Ruben Barreiro, 'Entrevista con Alfredo Bryce Echenique', in Ortega & Lander (eds), Alfredo Bryce Echenique: ante Ia crltica (Caracas: Monte Avila Editores, 2004), p. 32. 4 Alfredo Bryce Echenique. Permiso para vivir(antimemorias) (Barcelona: Anagrama, 1993). 1 mundo para Julius (1970). Having appeared in print just two years after the Revolutionary Government of the Armed Forces (1968-1975) seized power in Peru, Un mundo para Julius found itself caught up in what Bryce terms 'un malentendido' (Bryce, Permiso, p. 53), when the military government, with its 'antiimperialista y antioligarcico' (Bryce, Permiso, p.52) ideology, declared the novel, with its scathing critique of the upper classes, as representative of their regime. Bryce was subsequently deemed 'un intellectual verdaderamente comprometido en el proceso peruano' (Bryce, Permiso p. 52), despite the fact that the novel was, as Bryce assures, written 'sin la mas minima intenci6n polftica' (Bryce, Permiso, p.53). As Juan Angel Juristo recalls, the Minister of Education pronounced the novel as having done more for 'la colectivizaci6n en el Peru que muchas revoluciones' (Juristo, p.17). One of the repercussions of this was that Bryce was awarded the Peruvian National Prize for Literature in 1970. Bryce recounts this particular event and some of its hilarious consequences in an essay entitled 'Confesiones sobre el arte de vi vir y escribir novel as ': En esa epoca se da el golpe militar del general Velasco, de la revoluci6n peruana del 68, la reforma agraria del 70, y me sucede algo tota1mente inesperado, yes que se me otorga el Premio Nacional de Literatura en el Peru. Mi madre fue una persona absolutamente feliz, puesto que Prous~ vivfa en Paris y fue a recibir el premio en mi nombre, feliz de la vida, cuando el ministro de Educaci6n de entonces dijo que entre el general Velasco, presidente de la Republica, y Alfredo Bryce habfan destruido a la oligarquia peruana. Mi madre fue sacada en camilla y me convertf en una especie de vergiienza proustiana. (Ferreira & Marquez (eds), Los mundos, p. 32).6 5 Bryce's mother was passionate about the works of Marcel Proust. Bryce acknowledges that she was 'una apasionada de la obra de Marcel Proust' and that he was 'su escritor preferido'. in Juan Angel Juristo & Alfredo Bryce Echenique, Para que duela menos (Madrid: Editorial Espasa Calpe, S.A., 1995), p.15. 6 Alfredo Bryce Echenique, 'Confesiones sobre el arte de vivir y escribir novelas' (1982), in C6sar Ferreira & Ismael P. Marquez (eds), Los mundos de Alfredo Bryce Echenique: nuevos textos criticos, pp.29-44. 2 When Bryce refused to attribute a revolutionary voice to Un mundo para Jui/us, however, the Anned Forces Administration and the country's left-wing Peruvian intelligencia, 'labelled him as a reactionary author maintaining his links with the oligarchy into which he was born, and virtually black-listed him' (Wood, The Fictions, p.2).7 The above account of the events surrounding the reception of Un mundo para Julius illustrates the fashion in which Bryce's works have often been misinterpreted and caused controversy, a fact that has led him to be considered an enigmatic and contradictory figure in socio-political and cultural terms, in that he consistently resists pigeon-holing. Yet even on that most basic of points, his class of birth, there is little agreement and this is recently proving to be a bone of contention amongst Brycean scholars. Bryce's close personal friend the poet, Abelardo Sanchez Le6n, for example, disagrees with this over-simplified portrayal of Bryce as a representative or spokesperson for Lima's oligarchy, when he argues: En el caso de Bryce, debemos recorder que no hay elementos biograficos que 10 asocien directamente a la esfera oligarquica, ni como propietario de tierras ni vinculado al circuito commercial en areas precapitalistas del Peru. En el, probablemente no hay siquiera conciencia ni prop6sito de convertirse en la expression de este grupo social. (Ferreira & Marquez (eds), Los mundos, p.570)8 Sanchez Le6n suggests that it is Bryce's status as 'limeiio, relativamente adinerado, ilustrado, con modales chapados a la antigua' (Ferreira & Marquez (eds), Los mundos, p.70) that renders him vulnerable to this type of label. According to Sanchez Le6n, Bryce's oligarchic identity is due to genealogical factors rather than the life he 7 David Wood, The Fictions ofAlfredo Bryce Echenique (London: Kings College
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