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Comparing Rulfo's Pedro Páramo & Rivera's Y no se lo tragó la tierra, Summaries of Voice

University of Maine at Farmington Voice

The evolution of the epic genre through a comparative analysis of Juan Rulfo's Pedro Páramo and Tomás Rivera's Y no se lo tragó la tierra. The essay focuses on the utilization of the hero archetype and the redefinition of reality in these novels. Traditional epic forms are parodied, subverted, and transformed into unique styles that incorporate other genres.

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Mester, Vol. xxii, No. 2(Fali, 1993) &Vol. xxiii, No. 1(Spring, 1994) 63

Redefíning Epic and Novel through

Rulfo's Pedro Páramo and Rivera's

Yno se lo tragó la tierra

Juan Rulfo's Pedro Páramo is anovel that exposes the reality of Mexican

provincial life in Jalisco through the utilization of the hero archetype, popular

beliefs, myths and the oral testimony of women.^ hi his experimental novel, Rulfo

captures the coUective voice of repressed souls lost in atown of floating spirits.

Tomás Rivera' sYno se lo tragó la tierra is also adeveloping genre that redefines

the reality of northem Mexican culture in the U.S. Southwest through the represen-

tation of migrant farmworker cultm^. Rivera transforms the Ufe of the Mexican

American into aChicano narrative. Both novéis reflect amore "truthful" picture of

reality that transcends the boundaries of specific genres, such as the traditional epic

and the realist novel. This essay will focus on the evolution of epic form, along with

its utilization of the hero archetype, in Juan Rulfo's Pedro Páramo and Tomás

Rivera' sYno se lo tragó la tierra in order to illustrate the development of the novel.

Traditionally, readers of literature have been conditioned to perceive the epic

in alinear manner. This is due in large part to its formulaic structure. The

construction of this long narrative põem has been to present astory in alogical,

chronological, one-dimensional perspective in which the central characters can be

easily identified. For example, the epic hero is presented as alarger- than-hfe figure

whose actions are related to the survival of his people. Moreover, because of his

morality andrighteousness, areward of happiness will awaithim in the end. In other

words, based on alinear history, the uniqueness and destiny of each character will

be determined by his ability to recognize and, most importantly, to act against

oppressive circumstances that are present in daily life. Thus, the final result and

purpose of the traditional epic, as Aden Hayes' states, "is to be ofcontinuing use and

inspiration to apeople as they move forward in history, to be repeated down to the

last generation of the tribe" (280).

More importantly, however, the origin of the epic is the oral tradition of myths

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Mester, Vol. xxii, No. 2 (Fali, 1993) & Vol. xxiii, No. 1 (Spring, 1994) 63

Redefíning Epic and Novel through

Rulfo's Pedro Páramo and Rivera 's

Y no se lo tragó la tierra

Juan Rulfo's Pedro Páramo is a novel that exposes the reality of Mexican

provincial life in Jalisco through the utilization of the hero archetype, popular

beliefs, myths and the oral testimony of women.^ hi his experimental novel, Rulfo

captures the coUective voice of repressed souls lost in a town of floating spirits.

Tomás Rivera' s Y no se lo tragó la tierra is also a developing genre that redefines

the reality of northem Mexican culture in the U.S. Southwest through the represen-

tation of migrant farmworker cultm^. Rivera transforms the Ufe of the Mexican

American into a Chicano narrative. Both novéis reflect a more "truthful" picture of

reality that transcends the boundaries of specific genres, such as the traditional epic

and the realist novel. This essay will focus on the evolution of epic form, along with

its utilization of the hero archetype, in Juan Rulfo's Pedro Páramo and Tomás

Rivera' s Y no se lo tragó la tierra in order to illustrate the development of the novel.

Traditionally, readers of literature have been conditioned to perceive the epic

in a linear manner. This is due in large part to its formulaic structure. The

construction of this long narrative põem has been to present a story in a logical,

chronological, one-dimensional perspective in which the central characters can be

easily identified. For example, the epic hero is presented as a larger- than-hfe figure

whose actions are related to the survival of his people. Moreover, because of his

morality andrighteousness, areward of happiness will awaithim in the end. In other

words, based on a linear history, the uniqueness and destiny of each character will

be determined by his ability to recognize and, most importantly, to act against

oppressive circumstances that are present in daily life. Thus, the final result and

purpose of the traditional epic, as Aden Hayes' states, "is to be ofcontinuing use and

inspiration to a people as they move forward in history, to be repeated down to the

last generation of the tribe" (^) (280).

More importantly, however, the origin of the epic is the oral tradition of myths

64 Redefining Epic and Novel through^ Rulfo 's^ Pedro^ Páramo^ and^ Rivera^ 's^ ..

that belong^ to a^ distant^ legendary^ past^ (Frye^ 51).^ These^ traditional^ stories^ about

gods, kings^ and^ héroes^ serve^ as^ a^ foundation^ for^ the^ creation^ of^ the^ world,^ and^ at

times, its^ future^ destruction.^ Therefore,^ a^ property^ of^ tLe^ epic^ becomes^ the

battleground of "commencement" and "honors," "firsts"^ and^ "bests,"^ where^ a

specific form^ of^ popular^ knowledge^ is^ accepted^ in^ many^ cases^ as^ the^ literal^ truth.

Although these^ myths^ are^ filled^ with^ inconsistencies^ and^ absurdities,^ a^ central^ focus

of the epic is to establish the legitimacy of man and his relationship with^ the

universe. With^ this^ in^ mind,^ it^ becomes^ imperative^ for^ the^ establishment^ of^ a^ grand

past for^ the world^ of^ the^ epic,^ a^ world^ that^ separates^ itself^ from^ contemporary^ reality.

It is this^ "sacred"^ past,^ however,^ as^ Mikhaií^ M.^ Bakhtin^ states,^ that^ allows^ the

epic to remain locked out and distant from^ the^ present:

The epic world is an utterly finished thing, not only as an

authentic event^ of^ the^ distant^ past^ but^ also^ on^ its^ own^ terms^ and

by its own^ standards;^ it^ is^ impossible^ to^ change,^ to^ re-think,^ to^ re-

evaluate anything in it. It is completed, conclusive and immu-

table, as a fact, an idea and value. This^ defines absolute^ epic

distance.(17)

It is precisely this separation from and completeness with^ relation^ to contem-

porary reality that serve as a source of power for the epic's "absolute pasL" It^ will

be impossible to change this relationship because of the boundaries and limitations

the epic form has set for itself. These limitations imply a finished form for the epic

as a genre.

In contrast, the novel^ as a developing^ genre^ is^ never^ complete^ for^ it^ changes

according to social and historical circumstances.^ The novel parodies,^ exposes^ and

subverts the epic's own formal hmitations: thus, it créales its own^ particular^ style,

incorporating and reformulating other genres. For^ example,^ the^ traditional^ filial

bonds of the epic world^ in^ Juan^ Rulfo'^ s^ Pedro^ Páratno^ collapse^ because^ the^ quest

of the son Juan Preciado begins with the death of his mother and ends with the death

of his father. In fact, the reader will understand that the story of the Preciados and

the Páramos only demeans and debases every aspect of what an epic tale should

represent. Its^ story^ line^ is^ chaotic,^ fragmented^ and^ confusing,^ where^ the^ reader^ must

unite the scattered pieces of^ the^ narrative^ puzzle.^ Instead^ of^ communicating^ a

message of bravery and hope, Pedro Páranio^ sends^ a message^ of^ death^ and^ despair

.

If the reader chooses the hero to be Juan Preciado, this^ character^ fails;^ he^ not only

fails in his search for his father Pedro Páramo, he is eventually suffocated^ and

succumbs to death like the rest of the characters. If the hero is presumed to be Pedro

Páramo, the reader soon realizes that this character is only a self-absorbed^ tyrant

who swallows every last^ breath^ of^ Ufe^ and^ hope^ that^ the^ Comalan^ people^ possess.

No matter how the novel is interpreted, the end result is failure: failure to act, to

respond, to take charge of one' s own destiny in Ufe. Thus, the souls of the individuais

are forced to live in a state of purgatory with an illusion of what could have^ been.

66 Redefining Epic^ and^ Novel^ through^ Rulfo^ 's^ Pedro^ Páramo^ and^ Rivera^ 's

of the characters^ in^ Rulfo'^ s^ Pedro^ Páramo^ are^ dead^ from^ the^ beginning^ of^ the^ book,

including Juan^ Preciado^ who^ initiates^ one^ story^ (since^ there^ are^ actually^ two

overlapping plots)^ with^ the^ search^ of^ his^ father.^ Thus,^ the^ memory^ of^ myths^ serves

as a form of ideological manipulation^ and^ a^ constant^ reminder^ of^ how^ the^ Comalan

people failed to question and criticize the^ validity^ of^ deep-rooted^ myths^ that

repressed their true spirit.

These Mexican myths presented by Rulfo are challenged by the characters in

Tomás Rivera' s Y no se lo tragó la tierra. In fact, Rivera gained valuable insight

from the worksofJuan Rulfo, especially his L/am?en llamas{\95y). Tierra^ canalso

be considered a prose epic in that the^ theme^ imitates^ traditional^ epic^ form.^ Yet,

Tierra also allows for^ the^ adaptation^ and^ redefinition^ of^ a^ social^ context;^ it^ is^ this

repetition and reinterpretation^ of^ ideais^ within^ a^ given^ culture,^ through^ the^ actual

formatof an epic, that^ transforms^ this^ genre^ into^ acomic^ prose^ epic."*^ This^ repetition

of motifs implies that there can no^ longer^ exist^ any^ genres^ that^ remain^ puré.^ The

genre must change and evolve because it^ becomes^ a parody.^ What^ Tierra^ presents

to the reader is, according to Héctor Calderón, "a reformulation^ of^ the^ Mexican-

mestizo cultural world into the beginning of a Chicano narrative tradition" (100).

Moreover, as Calderón^ adds,^ through^ its^ natural^ unfolding^ and^ reformulation^ into

narrative, the reader processes and^ comprehends^ the^ fragmented^ and^ developing

culture of the Chicano in the United^ States:

...the role of the reader emerges from the gaps that must be filled

in order to insure structural and thematic continuity.Thus^ the

developing plot is explicitly based on a series of changing

relationships. That the narrative supplies instructions for this

process of understanding can be grasped from the last interpo-

lated fragment and the final coUective moment in which Rivera

delivers his views on the social function of art as these inform the

actofreading. (105)

The reader is able to particípate in the actual reconstruction of the entire novel,

according to his/her own development. This participation of the reader implies the

obligation to consciously recréate the reality that has been presented. Similar^ to

Cervantes' Don Quijote and^ Rulfo'^ s Pedro^ Páramo,^ Tierra^ is^ a novel^ that^ reforms

and critiques reality (Calderón 1(X)-101). Therefore, the relationship of literature

with society is vital and imperative to the imagination of the reader.

Tierra 's structure is composed of fourteen titled cuentos and thirteen untitled

cuadros with the first and the last cuento representing the framework for the entire

novel.^ Within this framework, there are twelve cuentos or short stories, represent-

ing a calendar year, ali united by the central story, ''Yno se lo tragó la tierra." Also

present throughout the narrative are the^ thirteen^ brief^ cuadros^ that^ frame^ each

cuento and that also possess a sense of unity and a stream-of-consciousness^ for^ the

reader. Most importantly, however, these archetypal stories describe^ life^ experi-

Mester, VoL xxii. No. 2 (Fali, 1993) & VoL (^) xxiii. No. 1 (Spring, (^) 1994) 67

enees that discuss universal themes such as man and nature, alienatíon, love,

betrayal, death, and a yeaming for community. Unlike Rulfo' s novel, the characters

in Tierra have not been swallowed^ up by the earth and possess an adventurous spirit.

In an interview^ with^ Juan^ Bruce-Novoa,^ Tomás^ Rivera stated that he wished to

highlight forever the heroic quality of farmworkers in the Southwest:

I felt that I had to document the migrant worker para siempre

[forever] , para que no se olvidara ese espirítu tan fuerte de resistir

y continuar^ under^ the^ worst^ conditions^ [so^ that^ their^ very^ strong

spirit of endurance and will to go on under the worst of conditions

hould not be forgotten], because they were worse than slaves. El

esclavo es una inversión [A slave is an investment], so you

protect him to keep him working. A migrant worker? You owe

him nothing. If he carne to you, you gave him work and then just

toldhim to leave. No investment. If he got sick, you got rid ofhim;

you didn't have to take care of him. It was bad, labor camps and

ali (^) that. (151)

Through this documentation, the reader is allowed to view the collective lives of

migrant workers, of Mexican Americans, presented in a non-conventional epic

style.

Moreover, if one is to apply the motif of the hero archetype, the unnamed

migrant child, the central protagonist, stands alone as the epic hero projection of his

working-class community of Mexican-Americans. This narrator/protagonist is not

actually present in ali of the stories; yet, it is his opening and concluding story

undemeath the house that allow the novel to have coherence and transcendence. It

is during his "solitary confmement" that the unidentified child begins to piece

together the fragmented, episodic, and puzzling experiences that have now shaped

his new ideological formation as a young Chicano. This new levei of criücal

consciousness attained by the protagonist has allowed him the freedom to question

the validity of myths, truths and opinions that stand in the way of his future

development:

Se sintió contento de pronto porque ai pensar... se dio cuenta de

que en realidad no había perdido nada. Había encontrado.

Encontrar y reencontrar y juntar. Relacionar esto con esto, esto

con aquello, todo con todo. Eso era. Eso era todo. Y le dio más gusto. (169)

This ideological and spiritual exploration is, ironically, a quality the characters of

Rulfo failed to express (excluding Susana San Juan). By überating himselfof myths

(like the myths of demons and gods) and traditional beliefs that continué to oppress

his people, the young Chicano realizes that if "There is no devil. There is nothing"

Mester, Vol xxii, No. 2 (Fali, 1993) á Vol. xxiii. No. 1 (Spring, 1994) 69 true meaning of the word.^ I^ find^ it^ more^ practical^ comparing^ this^ unique^ genre^ with^ other fixed gerjes. For practical^ purposes,^ however,^1 will^ define^ the^ term^ novel^ from^ the^ vantage^ point that it mirrors contemporary reality with its diversity of speech, experience and constant

prediction of a future. With this in mind,^ the^ novel^ reflects^ the^ tendency^ of^ a^ new^ world^ stUl

in the making, and therefore, it cannot be classified as a finished^ process.

Frye describes satire as a^ critique^ of^ heroic^ narratives,^ as^ "a^ parody^ of^ romance"^ (223).
Like the plot^ of^ comedy,^ Rivera^ is^ concerned^ with^ integrating^ the^ individual,^ the^ family,

and the^ group^ into^ society^ as a^ whole.^ See^ Frye^ on^ comedy^ (218).

5. To describe the brief, untitled fragments, Rivera used the Spanish term cuadro.

WORKS CITED

Bakhtin, Mikhail M. "Epic and Novel: Toward a Methodology for the^ Study^ of^ the^ Novel."

The Dialogic Imagination:^ Four^ Essays.^ Ed.^ Michae!^ Holquist.^ Trans.^ Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981. Bruce-Novoa, Juan. Chicano Authors:^ Inquiry^ by^ Interview.^ Austin:^ University^ of^ Texas Press, 1980. 137-161.

Calderón, Héctor. "The Novel and the Contununity of Readers:^ Rereading^ Tomás^ Rivera'^ s

Y no se lo^ tragó^ la^ tierra."^ Criticism^ in^ the^ Borderlands:^ Studies^ in^ Chicano

Literature, Culture, and Ideology. Ed. Héctor Calderón and José David Saldívar.

Durham: Duke University Press, 1991. 97-113.

Franco, Jean. An Introduction to Spanish-American Literature.^ Cambridge^ University^ Press,

Frye, Northrop. Anatomy of Criticism:^ Four^ Essays.^ Princeton^ University^ Press,^ 1957.

Hayes, Aden. "Rulfo's Counter^ Epic:^ Pedro^ Páramo^ and^ the^ Stasis^ of^ History."^ Journal^ of

Spanish Studies Twentieth Century. 7 (1979): 279-296.

Rivera, Tomás. Y no se lo tragó la tierra/And the Earth Did Not Part. Berkeley: Quinto Sol

Publications, 1971. Rulfo, Juan. Pedro Páramo. México: Fondo de Cultura Económica, 1955.

Saldívar, Ramón. "Beyond Good and Evil: Utopian Dialectics in Tomás^ Rivera^ and^ Oscar

Zeta Acosta." C/i/ca/K? Narrative: The Dialectics of Difference. Madison: The

University of Wisconsin Press, 1990.