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Redalyc.Dos Escritores Chicanos Sobre Ciudad Juárez Nóesis. Revista de Ciencias Sociales y Humanidades ISSN: 0188-9834 [email protected] Instituto de Ciencias Sociales y Administración México Sánchez Benítez, Roberto Dos escritores Chicanos sobre Ciudad Juárez Nóesis. Revista de Ciencias Sociales y Humanidades, vol. 22, núm. 44, 2013, pp. 256-276 Instituto de Ciencias Sociales y Administración Ciudad Juárez, México Disponible en: http://www.redalyc.org/articulo.oa?id=85927875011 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Resumen En este breve artículo se da cuenta de dos importantes escritores chicanos que, en sus obras, se refieren a las ciudades fronterizas, inseparables, de Ciudad Juárez y El Paso. En el primero de ellos, Juárez no es solamente uno de los pasos obligados para internase en los Estados Unidos, puerta privilegiada de la diáspora que causó el movimiento de la Revolución Mexicana, y donde se pondrá en juego el rencor y odio hacia el extranjero, además de que en ella se escenifiquen las contiendas del movimiento armado que será contemplado, como si de una película en vivo se tratara, desde el “otro lado”, será el escenario del nacimiento del personaje cultural del “pachuco”, el cual habrá de ser entendido como una de las primeras formas contraculturales de resistencia identitaria de los mexico-americanos en los años 1940s. En el segundo caso, la ciudad fronteriza es lo que fue durante muchos años, un lugar al que los vecinos del norte acudían para buscar el alivio de la noche, los delirios de sus goces prohibidos, así como, y es el caso, de sus melancólícas tribulaciones personales. Estas miradas han quedado grabadas en las obras de José Antonio Villarreal y Óscar Zeta Acosta, respectivamente. Palabras claves: literatura chicana, pachuco, identidad, revolución mexicana, frontera. Abstract In this brief article we refer two important Chicano writers that, in his works, talk about the borders, and linked cities of Juárez and El Paso, Tx. In the first of them, Juárez is not only one of steps forced for would commit in the United States, door privileged of diáspora that it caused by the movement of Mexican Revolution, and where it will put into play the resentment and hatred towards the foreigner, besides in becoming the stage where the fights of the armed movement will be contemplated, as if a live film it was, from the “otro lado”, but it will be the scene of the birth of the cultural personage of “pachuco”, which will be understood as one of the first coun- terculture forms of identity resistance of the Mexico-Americans in the years 1940s. In the second case, the border city is what was during many years, a place which the neighbors of the north went to look for the lightening at night, the deliriums of its prohibited enjoyments, as well as, and is the case, of its melancholic personal tribula- tions. These glances have been recorded in works of Jose Antonio Villarreal and Oscar Zeta Acosta, respectively. Key words: chicano literature, pachuco, identity, Mexican Revolution, border. Sección Libros, Entrevistas y otras Narrativas Dos escritores Chicanos sobre Ciudad Juárez Two Chicano Writers about Ciudad Juárez Roberto Sánchez Benítez1 1 Nacionalidad: Mexicana. Grado: Doctorado en Filosofía. Especialización: Filosofía Con- temporánea, Estudios Culturales y Literarios. Adscripción: Profesor-Investigador de la Universidad Autónoma de Ciudad Juárez. Correo electrónico: [email protected] Fecha de recepción: 15 de junio de 2012 Fecha de aceptación: 13 de agosto de 2012 Introducción El binomio Ciudad Juárez-El Paso, con su importante presencia a lo largo de la historia mexicana, región obligada en la ruta de tribus nómadas prehispánicas, se convirtió para algunos escritores chicanos en un lugar doblemente significativo en sus biografías personales, cu- yos aspectos encontramos en algunas de sus novelas. Por un lado, fue el sitio por donde sus padres atravesaron la frontera, huyendo de la Revolución Mexicana, mientras que, por el otro, representó siempre la ventana, el lugar a donde había que acudir para entender los límites de sí mismo dentro de una búsqueda muy personal que realizaron de ello. Dos escritores Chicanos sobre Ciudad Juárez Sitio por donde se cuela el presente del pasado, y a dónde es necesario ir para saber si dichas raíces históricas siguen teniendo vitalidad. El pri- mero de los escritores considerado en este artículo recrea, en su novela para muchos fundacional del tema chicano, aspectos de la biografía de su padre, excombatiente villista que huye de un país dominado por bu- rócratas y luego de enterarse de que el ¨centauro del Norte¨ ha muerto. En su novela Pocho, José Antonio Villarreal habrá de descubrirnos una cultura fronteriza, cuyos rasgos habrán de ser definitorios para las generaciones de jóvenes posteriores a la Segunda Guerra Mundial. En dicha novela habremos de encontrar la historia de los ¨nietos de la revolución¨ creciendo en los Estados Unidos. El segundo, Oscar Zeta Acosta, es uno de los escritores más destacados de El Paso y uno de los grandes defensores de la “causa chicana” en California. Ciudad Juárez aparece en sus novelas-testimonio, no solo como “el lugar sin límites”, de fuga del norteamericano que buscaba sexo y licores baratos, sino el punto de no-retorno de su identidad, la presencia viva de una de sus raíces imposible de ser recobrada del todo, por lo que tampoco puede confundirse con el norteamericano-medio. Ambos escritores ilustran dos formas de encarar el dilema de una identidad que vive la tensión y el conflicto de dos culturas incompatibles, desiguales y para lo cual el lenguaje literario se convierte en un excelente instrumento de expre- sión y análisis. Nóesis 258 El nacimiento del pachuco La novela chicana nace en 1959 con Pocho1 de José Antonio Vi- llarreal (1924-2010),2 la cual prefigura el emblemático movimiento literario de los años 1970s, una de las etapas más distintivas de esta Roberto Sánchez Benitez Roberto 1 “Pocho” ha designado, en la ya larga tradición de nombrar a los mexico-americanos de diversas formas, a quien tiene dificultades para hablar el español, debido a que lo ha comenzado a olvidar y recurre asimismo a vocablos o modismos en inglés para suplir tal carencia. Pero el término tiene a su vez una connotación despectiva, ya que designa a quien ha traicionado la patria al abandonarla en el proceso de migración. De alguna manera, el término sería una variante de “mocho”, el que habla cortado, al que le faltan palabras en su decir. El Diccionario de la Real Academia de la Lengua Española única- mente indica que “Pocho” es quien “adopta costumbres o modales de los estadouniden- ses” (http://buscon.rae.es/draeI/SrvltConsulta?TIPO_BUS=3&LEMA=pocho consultada el 01/12/2009). 2 Cabría indicar que, el reconocimiento como “escritor chicano” le vendrá después, en una hipótesis de entendimiento retrospectivo elaborada por los críticos literarios, fun- damentalmente por John Bruce-Novoa. Se sabe que Villarreal, al igual que Miguel Méndez, nunca se consideraron como tales y que recelaban de cualquier “antología chicana” en la que apareciera su nombre (Torres, 10). En este sentido, Villarreal llegó a sostener que: “I do not call myself a Chicano writer and I do not think of myself as one, mainly because the name alone implicitly brings out restrictions and inhibitions detri- mental to my achieving the aesthetic level I seek, I am not disturbed by being classified as such” (citado por Bruce-Novoa, 1980:42). (“No me autodenomino autor Chicano y no me veo como tal, principalmente porque el nombre por sí solo conlleva restricciones e inhibiciones en detrimento del nivel estético que intento conseguir, sin embargo, no me molesta ser clasificado de esta manera”. Todas las traducciones del inglés corres- ponden a Argelia Calderón, de la Universidad Michoacana). Además consideraba que la literatura chicana no tenía por qué ser separada del resto de la literatura americana, ya que lo que importaba era elaborar una buena literatura que fuera universal, es decir, atender el puro llamado del arte. Antes que hablar de “literatura chicana”, Villarreal prefirió hablar de “escritura chicana”, aunque mantuvo el pesimismo de que, un buen día, las obras producto de tal escritura solo habrían de tener un interés académico, ya que la época a la que correspondieron se habría cerrado. “I do not see one piece of Chicano work that will be read fifty years from now except in college courses. Its phi- losophy, socioeconomic, makes it a temporal phenomenon. Its cultural subject matter will make it valuable to historians and sociologists” (Bruce-Novoa 1980: 48). (“No veo ninguna obra literaria chicana que vaya a ser leída dentro de cincuenta años excepto en los cursos universitarios. Su filosofía, socioeconómica, les confiere una naturaleza tem- poral. Su asunto cultural las hará valiosas para los historiadores y sociólogos”). Otras 22 • número 44 • 2013 Vol. obras de Villarreal son The Fifth Horseman (1974) y Clemente Chacón (1984). 259 literatura. Es una de las primeras novelas3 que refleja la rápida expan- sión de la migración mexicana hacia el suroeste de los Estados Unidos (Saldívar, 60),4 a mediados del siglo pasado. En ella, Juan Rubio, un excoronel villista (como de hecho lo fue el padre del autor), originario de Zacatecas (al igual que el padre de Villarreal), decide huir a los Estados Unidos, vía Ciudad Juárez, donde tratará de rehacer su vida en Santa Clara, un pueblo en el Imperial Valley, California (donde de hecho vivió la familia de Villarreal), y a raíz de que ve a la Revolución Mexicana traicionada en sus ideales: son asesinados Emiliano Zapa- ta y Francisco Villa, quedando en el poder políticos y militares de la peor calaña.5 En esta huída, y como si necesitara más razones para Dos escritores Chicanos sobre Ciudad Juárez abandonar México, Rubio mata a un “gachupín” gringo, de Texas, en la disputa por una prostituta.6 Ya en Estados Unidos, Rubio se casa y tiene tres hijas y un hijo.
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