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Unhrcrsltjr MicrofllnM 300 North Z N b Rood Ann Arbor, Michigan 48100 A Xorox Education Company 7 2 -2 0 ,9 9 5 MJRPHY, J r., Allen Forrest, 1931- REALItY AM) FANTASY IN THE CREATIVE LITERATURE OF ENRIQUE AM3ERS0N IMBERT. [Portions of Text in Danish]. The (Esio State University, Ph.D., 1972 Language and L iteratu re, modem University Microfilm *, A XBKR Company, Ann Arbor, Michigan © 1972 ALLEN FORREST MURPHY, JR. ALL RIGHTS RESERVED « THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. REALITY AMD FANTASY IN THE CREATIVE LITERATURE OF ENRIQUE ANDERSON IMBERT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Allen Forrest Murphy, A.B., II.A* * * * * it The Ohio State University 1972 Approved by Aaviser Department of Romance Languages PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company TO MY FAMILY ACKNOWLEDGEMENT S Although it is impossible to acknowledge individually all those who, in one way or another, have helped me on the long and often difficult road to the doctorate, I feel there are some who must be mentioned by name. First of all there was the late James R. Browne, Professor of Spanish at Kenyon, who initially awakened my interest in Spanish American literature and who later gave me inval­ uable aid as a young teacher and graduate student* My thanks also to Professor Richard Armitage whose wise counr- sel, “Murphy, it doesn't take intelligence to get a Ph.D.; it takes perseverance,” was often all that kept me going. A special acknowledgement is due to my adviser, Professor Ilarta Korello-Frosch who not only saw me through my M.A. but stuck with me through the darker hours of the writing of this dissertation. I would be remiss if I failed to mention the kindness of Enrique Anderson Imbert himself in answering my questions and in assisting me by sending ref­ erences, information, and bibliographic materials. Last but not least I wish to acknowledge my indebtedness to my wife Gene and our four children for all their many years of understanding, patience, and confidence. Most cer- tainly without their support this dissertation would never have been completed. iii VITA November 17 , 1931 Bonv— Maysville, Kentucky 1953. A.B. with High Honors, Kenyon College, Gambier, Ohio 1954-1957 . U.S. Naval Reserve Officer on active duty 1959-1961 . Assistant Instructor, Department of Romance Languages, The Ohio State University, Columbus, Ohio 1961. M.A., The Ohio State University, ColumbuB, Ohio 1961-1963 . Instructor, Department of Modern Languages, Mount Union College, Alliance, Ohio 1963-1964 . Assistant, Department of Romance Languages, The Ohio State Uni­ versity, Columbus, Ohio 1964-1965 . Instructor, Division of Compara­ tive Literature, The Ohio State University, Columbus, Ohio 1965-1969 . Instructor, Department of M o d e m Languages, Wright State Univer­ sity, Dayton, Ohio 1969-1972 . Assistant Professor, Department of M o d e m Foreign Languages, Franklin College of Indiana, Franklin, Indiana iv FIELDS OF STUDY Major Field: Spanish American Literature Old Spanish Language. Professors David Griffin and Kenneth Scholberg. History of the Spanish Language. Professor Stanley Sap on. Old Spanish Literature. Professor Kenneth Scholberg. Golden Age Spanish Literature. Professors Harry Rogers, Kenneth Scholberg, Carlos Blanco Agui- naga, and Elias Rivers. Eighteenth Century Spanish Literature. Professor Kenneth Scholberg. Spanish American Literature. Professor Marta Morello- Frosch and Richard Armitage. V TABLE OF CONTENTS Page DEDICATION........................................... ii ACKNOWLEDGEMENTS.................................... iii VITA ................................................. iv CHAPTER I. ENRIQUE ANDERSON IMBERT AND MAGICAL REALISM................................ 1 CHAPTER II. VIGILIAi THE NIGHT JOURNEY...............12 CHAPTER III. FUGAt TIME AND TIME A G A I N ............. 69 CHAPTER IV. THE SHORT STORIES: "DEL CAOS UN UNIVERSO NUEVO" ...................... 102 CHAPTER V. THE HICROCUENTOS: "MULTUM IN PARVUM". 130 CHAPTER VI. CONCLUSION.......................... 158 BIBLIOGRAPHY ............................ ..... 164 I ENRIQUE ANDERSON IMBERT AND MAGICAL REALISM Enrique Anderson Imbert was b o m in C6rdoba, Argen­ tina, on February 12, 1910 and received his schooling in the cities of La Plata and Buenos Aires, graduating in 1946 with the degree of Doctor en Filosofia y Letras from the University of Buenos Aires. During these years as a student he came under the influence of four teachers who contributed significantly to his development both as a writer and as a man: philosophers Alejandro Korn and Francisco Romero and critics Pedro Henrfquez Urefla and Amado Alonso. He has acknowledged his debt to these teachers in several places: Excelentes maestros— Ale jandro Korn, Francisco Romero, Amado Alonso, Pedro Henriquez Urefla y otros— me habituaron al estudio disciplinado y sistematico•1 En mis afios de adolescencia en La Plata ... tuve la suerte de poder arrimarme a dos grandes maestros: Alejandro Korn y Pedro Henrfquez Urefla. Al lado de ellos me hice hombre. Les debo mi primera formacidn intelectual. Vacilaba yo entonces entre la filosofia y la literatura. Filosofia era lo que yo querla aprender con Korn; y literatura con Henrfquez Urefla. La vei>- dad os que todo lo fui aprendiendo de ambos por igual•2 1 2 La vocacidn de Francisco Romero no es publi­ can libros ... a lo que 61 se ha consagrado con un dnimo fresco, jovial, cordialfsimo, es a la formacidn de jdvenes estudiosos de filosofia. Y graeias a este plasmar de con— ciencias, no a la distancia solemne de la catcdra, sino en la conversacidn, y en el paseo, y en la amistad de todos los dias, Francisco Romero ha conseguido que, en un clrculo cada vez mas vasto, la Filosofia pueda presentarse sin que le den coces.3 Gracias a Amado Alonso, entonces direc­ tor del Instituto de Filosofia de la Univer*- sided Nacional de Buenos Aires, me inici£ en el analisis estilistico.4 Besides these statements, his writings— both creative and critical— bear ample witness to what he learned from these teachers in his formative years. During those same years he was also obtaining valuable experience as literary editor for the Socialist newspaper ^ Vanguar- dia of Buenos Aires. In that capacity he wrote articles which dealt with social and political, as well as liter- ary, topics. Some of these articles were later collected and published under the title la flecha en el aire. In 1940 he began his teaching career at the Universidad Nacional de Cuyo and has continued in that profession at several universities in Argentina and in this country. He was for many years (1947-1965) on the faculty at the University of Michigan, leaving there in 1965 to become the first Victor S. Thomas Professor of Hispanic Ameri­ can Literature at Harvard— a position which he presently occupies. When Anderson Imbert began his literary career, Spanish American literature was emerging from a period of uncertainty and fluctuation, after various "ismos"— ultra!smo, vanguardisrao. creacionismo— flourished briefly in the late 1920*s and early 1930's. Por the most part these short-lived movements affected mainly poetry; prose was, to a great extent, untouched by the vanguard movement since Modernism and seemed to go gen­ erally in the direction of realism and social purpose. The novel of the Mexican Revolution, the indianista novel, the political novel all flourished during this period; and the short story generally followed in the steps of the novel.® Anderson Imbert*8 Vigilia (1934) was one of the first prose