THE WRITINGS of MANUEL ROJAS by Robert Scott A,B,, M1ami

THE WRITINGS OF MANUEL ROJAS by Robert Scott A,B,, M1ami University, 1956 M.A., Miamt University, 1958 Submitted to the Department of Spanish and the Faculty of the Graduate School of the Univer- sity of Kansas in partial ful- fillment of the requirements for the degree of Doctor of Philo- sophy, r.ABLE OF CON lENl'S Chapter Page PREFACE • • • • • • • • • • • • • • 111 I, LIFE AND WORKS . 1 II. NON-FICTION. 23 III. POETRY . 41 IV. THE SHORT Sl'ORIES. 67 v. BEGINNINGS AS A NOVELIST, 111 VI. THE ANICEro HEVIA TRILOGY, 130 VII. PUNTA J2! RIELES: A NEW DEPARTURE ••••• 186 VIII. CONCLUSIONS. • 201 SELECTED BIBLIOGRAPHY . 21'3 PREFACE The present study ie intended to trace the development of the writings of Manuel Rojas, the most prominent Chilean novelist and ehort-etory writer of the generation of 1920, and to reach some conclusions regarding their significance. lbat such a study ie Justified ie evident. In the passing remarks of reviewers who have commented on hie works, critics who have studied one or two aspects of hie novels and short etoriee, and anthologists who have chosen to include some few of hie beet short stories ln their collec- tions, there ie a consensus that he 1s a writer of some significance. Nevertheless, there exists very little in the way of critical analysis of his works. Fernando Alegr!a has discussed Rojas' novels in a brief article; four or five significant studies have been done on lli2 gi ladron, all but one published 1n Chile; and Ra61 Silva Castro has written some commentary on hie short etor1ee, although hardly a critical study. Other than this, Rojas has been singularly neglected by the critics. Since no single mono- graph attempting a synthesis of his works has appeared to date, 1t would seem that such a study should be made at this time. Moreover, now that Rojas has passed hls 111. iv. seventieth birthday, lt is unlikely that he will add e1g• n1f1cantly to what he has already written. H1a total work may be aa1d to have been completed. Rojas' works fall rather neatly ln terms of thelr chronology into a generic arrangement. He began, for example, as a poet, later became a short-etory writer, and reached hls peak as a novel1st. The fact that be wrote one poem as late as 1954, an occasional short story after 1951, and a book of essays in 1960, doee not alter the fact that hls development can be seen most clearly by analyzing his works according to genre. Rather than trace his works within a rlg1d chronology, therefore, I have chosen to deal with each genre 1n a separate chapter. It will be evident, nonetheless, that the chronological development has in no way been neglected or denied by this method. As bas been mentioned, crltlcal studies of Rojas• works are scant, and very little if anything would be gained by a b1bl1ograph1cal reference to every review that hae appeared 1n every newspaper and magazine. I have, therefore, elim- inated such references from the bibliography. At the same time, although the bibliography le selective, it is meant to include all significant studies to date as well as the anthologies 1n which Rojas' works, especially hls short stories, have appeared. v. Finally, I should like to express my sincerest grati• tude to Professor Seymour Menton for hie advice and critical assistance in the preparation of this thea1a, and to Professor Raymond D. Souza who so kindly assumed advlalng reaponalbilltiea at the last moment. CHAPTER I LIFE AND WORKS Regardless of the genre he may choose, no literary artist can avoid using hie personal experiences in the creation of literature. On the other hand, no matter how close a relationship may exist between a particular finished work of art and the writer's own experiences, he can never offer a mere carbon copy of life. Indeed, when such is the case, as sometimes happens, there is no art at all. Most of Manuel Rojas' works are manifestly autobiographical. Yet it is evident that, despite the inseparable relationship between hie life and hie works, he offers us considerably more than thinly-dieguieed autobiography. It will be the aim of this introductory chapter to discuss RoJae' life aa it pertains to hie literary works. Manuel Rojas was born in Buenos Aires, Argentina on January 8, 1896, the eon of Manuel Rojas c6rdoba and Dorotea Sep~lveda. Were it not for hie parents being Chilean and the fact that he later lived, wrote, and published hie works in Chile, Argentina might have claimed him as her own. As it was, he first came to Chile at the age of four when hie parents moved from Buenos Aires to Santiago. 1. 2. Here, on the corner or Coquimbo and Nataniel, hie father opened a modest general store. Although Rojas is unable to recall the physical details of his father's bueiness-- 1 "me inclino a creer que era pequeno y modeeto"--, it is evident that he showed a keen interest in people and an uncanny eye for observation even at this early age, for he retains vivid images of the individuals and types who lived in the neighborhood. The numerous drunks, rough- necks, thieves, beggars, and tramps who drank at a near- by tcvern are typical counterparts of the characters who 2 were later to appear in hie short stories and novels. Rojas' first stay in Chile, however, was brief. His father, a happy soul who loved music, was also fond of cognac; he died very suddenly when Manuel was no more than five, of nephritis brought on by too much alcohol. Rojas baa only two vague recollections of his fathers No tengo de mi padre sino dos recuerdos, dos imlgenes: en una me veo paseando con ~l sobre alguna parte del puerto de la ciudad de Rosario; en la otra le veo tendido sobre una camilla, cubierto por una slbana de hospital y muerto.3 Rojas' widowed mother returned with Manuel to the more familiar surroundings of Buenos Aires. After residing a very short time in a small house on Estados Unidos Street, Dona Dorotea and her son soon moved to a larger place in the Boedo district. Among the occupants here--the landlady, an Italian shoemaker, an elderly French lady, and a socialist tailor--, only the latter had anything approaching an influence on Rojas. With tongue in cheek, he recalls that the tailor taught him to sing the socialist anthem, "Hijoa del Pueblo." Later as a young man, Rojas was to play a more active role in the left-wing social agitation 4 of the early years of the century. It was in Buenos A1ree that Rojas began what 11ttle formal education circumstances were to allow him. Within a single year, he attended three different primary schools. Only the last of the three does he recall at all, but the recollection is etched vividly in his memory. The school wae run by a married couple whose phye1cal ugliness was surpassed only by the1r autocratic and whimsical cruelty. On one occasion, for instance, the teacher-director, nick- named by the boys "Nariz de Batata," proceeded to punish hie pupils alphabetically for having played soccer instead of go1ng to confession. Manuel squirmed in anguish as he waited for the tyrant to come to the R's. When the crucial moment was at hand, he jumped up and scurried out the aide door. He never returned. In sympathy w1th Manuel, primarily because she was dissatisfied with the couple's instruction, hie mother enrolled him in another school. Rojas' experiences here were in sharp contrast to those just described. Without a doubt, the pr1ncipal reason was his new teacher, a gentle- man of whom he has only the fondest memories: 4. Su presencia animaba; parec!a, mis qua un educador un amigo. BaJo au influencia, en los d!as que sig~1- eron a su aparicion, me entusiasm& hasta el punto de pasar a ocupar uno de los pr1meros puestos; despu~s. desvanecida la novedad, volv! de nuevo a los dltimos. Pero me d1st1ngu!a y guardo de ~l, como maestro, el meJor recuerdo de mis escasos anoe de escolar. Se llamaba F&lix Miel1. Yes curioso que sea el 6n1co nombre qua recuerdo entre los de mie profesores.6 When his mother moved again, Rojas was forced to change schools once more. Before leaving, he chanced to meet Mieli on a street corner. He recalls his teacher placing his hand affectionately on his head and saying to him: "1Hac&te un 7 hombre, ¥~nuell" Rojas not only re~embered the words but seems to have taken them to heart, for his best works are concerned with the question of what it means to grow into manhood. Illness prevented him from regularly attending his next school. Furthermore, scarcely had be recuperated when hie mother made her third change of residence since returning to Buenos Aires, this time to the Caballito district. Rojas' years here were filled with the normal carefree experiences of boyhood. He was not above stealing pears, for example, from a near-by guipta, mostly for the thrill of being chased by the caretaker. At the same time, he showed an unusual sensitivity toward nature, spending long hours observing the 8 birds and learning the names of the many and varied species. But what little leisure he wae to know, came to a premature end. Hie mother's economic circumstances forced him to take on small Jobe, Manuel worked for a week in a s. tailor shop, learning little else than to sew on buttona; another two weeka were spent 1n a neighborhood butcher shop, sweeping the floor and answering the door; and he worked tor a month as a messenger boy tor the Buenos Aires service, "La C&p1tal," a job which gave him an opportunity to learn the ins and outs or his native city.

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