 First edition | |
| Author | Juan Rulfo |
|---|---|
| Original title | El Llano en Llamas (Spanish) |
| Translator | into English: George D. Schade; Ilan Stavans; Stephen Beechinor into French: Gabriel Iaculli |
| Country | Mexico |
| Language | Spanish translated into French and into English |
| Genre | Short story collection |
| Publisher | Fondo de Cultura Económica |
Publication date | 1953 |
| Pages | 170 pp |
| ISBN | 978-0-292-70132-8 |
| OCLC | 20956761 |
El llano en llamas (translated into English as The Burning Plain and Other Stories,[1] The Plain in Flames,[2] and El Llano in flames[3]) is a collection of short stories written in Spanish by Mexican author Juan Rulfo. The stories were written over several years for different literary magazines, starting in 1945 with They Gave Us The Land.[4] The collection itself was first published in 1953 by the Fondo de Cultura Económica as part of the compendium Letras Mexicanas (lit. Mexican Writings). After its publication, two other stories, The Legacy of Matilde Arcángel and The Day of the Collapse were included in its second edition in 1970.
The stories in the book are set in the harsh countryside of the Jalisco region where Rulfo was raised, with the context of post-Mexican Revolution events such as the distribution of ejidos after the land reform and the Cristero War. They explore the tragic lives of the area's inhabitants who suffer from extreme poverty, family discord, and crime.[5] With a few bare phrases the author conveys a feeling for the bleak, harsh surroundings in which his people live.[6]
Literary reputation of the author
This collection and a novel entitled Pedro Páramo published within three years of each other in the 1950s established Rulfo's literary reputation.[5] One review of these stories praises these seventeen tales of rural folk because they "prove Juan Rulfo to be one of the master storytellers of modern Mexico....". The reviewer also noted that Rulfo
- has an eye for the depths of the human soul,
- an ear for the 'still sad music of humanity,'
- and a gift for communicating what takes place internally and externally in man.
Range of writing styles in these stories
- brief anecdotes
- casual incidents that remind one of 'happenings' in pop art
- short stories. (According to one reviewer, many of these stories are written in deceptively elemental language and narrative technique.)[6]
In his introduction to the Texas edition, translator George D. Schade describes some of the stories as long sustained interior monologues ("Macario", "We're very poor", "Talpa", "Remember"), while in other stories that may have otherwise been essentially monologues dialogues are inserted ("Luvina", "They have Given Us the Land" and ""Anacleto Morones"). A few stories, according to Schade, are scarcely more than anecdotes like "The Night They Left Him Alone".
Mentioned in a Nobel Lecture, 2008
The French writer J.M.G. Le Clézio, who was the 2008 Nobel literature laureate, mentioned in his Nobel Lecture not only the writer Juan Rulfo, but also the short stories from El llano en llamas and the novel Pedro Páramo.[7]
Stories
| # | Original Spanish | English translation | First Appearance |
|---|---|---|---|
| 1 | Nos han dado la tierra | They gave us the land | Pan Magazine, Issue 2, July 1945[8] |
| 2 | La cuesta de las comadres | The Hill of the Mothers-in-law | América Magazine, Issue 55, February 1948[8] |
| 3 | Es que somos muy pobres | We're just very poor | América Magazine, Issue 54, August 1947[8] |
| 4 | El hombre | The man | Llano en Llamas First Edition, 1953[8] |
| 5 | En la madrugada | At daybreak | Llano en Llamas First Edition, 1953[8] |
| 6 | Talpa | Talpa | América Magazine, Issue 62, January 1950[8] |
| 7 | Macario | Macario | Pan Magazine, Issue 6, November 1945[8] |
| 8 | El llano en llamas | The burning Plain | América Magazine, Issue 64, December 1950[8] |
| 9 | ¡Diles que no me maten! | Tell them not to kill me! | América Magazine, Issue 66, June 1951[8] |
| 10 | Luvina | Luvina | Llano en Llamas First Edition, 1953[8] |
| 11 | La noche que lo dejaron solo | The night they left him alone | Llano en Llamas First Edition, 1953[8] |
| 12 | Paso del Norte | North Pass | Llano en Llamas First Edition, 1953[8] |
| 13 | Acuérdate | Remember | Llano en Llamas First Edition, 1953[8] |
| 14 | ¿No oyes ladrar los perros? | Can't you hear the dogs barking? | Llano en Llamas First Edition, 1953[8] |
| 15 | Anacleto Morones | Anacleto Morones | Llano en Llamas First Edition, 1953[8] |
| 16 | La herencia de Matilde Arcángel | The Legacy of Matilde Arcángel | Llano en Llamas Second Edition, 1970[8] |
| 17 | El día del derrumbe | The Day of the Collapse | Llano en Llamas Second Edition, 1970[8] |
Macario
Written as a monologue, where an orphaned town idiot named Macario describes in his flowing narrative a few of the special aspects of his everyday life. The past and present mingle chaotically, and frequently the most startling associations of ideas are juxtaposed, strung together by conjunctions which help to paralyze the action and stop the flow of time in the present. This helps to establish the sickly atmosphere surrounding the idiot boy, who is gnawed by hunger and filled with the terror of hell, and is protected, as well as exploited, by his Godmother and the servant girl Felipa.[9]
Nos han dado la tierra (They gave us the land)
The story speaks of four countrymen, having abandoned their homes and are marching across a sun-baked barren plain, in order to reach a parcel of land they were given as part of the government's land reform program. However, as they reach their property, they find out the land they were given is too hard and far away from any water source to have any practical use. When they complain to the deputy about it, he apathetically tells them they shouldn't attack the government that gave them the land, and they're left to wonder what to do.
La cuesta de las comadres (The Hill of the Mothers-in-law)
The story is narrated by a man described as "the last inhabitant of the Hill of the Mothers-in-law", a village formerly controlled by the feared criminals and now-deceased Torrico brothers. Even though during the land reform the sixty original inhabitants were given equal plots of land, the Torrico brothers forced the rest of the villagers to give up their land and everything they produced within it, driving them all out. When there was nobody but the narrator and the brothers left, the Torricos turned to Highway robbery, which caused their deaths.
Es que somos muy pobres (We’re just very poor)
The story starts with the line, “Everything is going from bad to worse here.” The narrator speaks about the hardships that his family has recently had to endure, which included the death of his Aunt Jacinta the previous week. During the burial, he says that “it began raining like never before”.[10]
El hombre (The man)
The story is split into two parts. The first part is narrated in third person, and alternates between descriptions of two different people: a fugitive “man” and his “pursuer,” often referred to as “the one who was following him.[11]"
En la madrugada (At daybreak)
The story begins with an eerie description of the town of San Gabriel. The town “emerges from the fog laden with dew,” and the narrator describes a number of elements that serve to obscure it from view: clouds, rising steam and black smoke from the kitchens.
Talpa
“Talpa” is narrated in the third person by a nameless character, who is described only as the brother of Tanilo and the lover of Tanilo’s wife, Natalia. The story begins at what is technically its end, with a description of Natalia throwing herself into her mother’s arms and sobbing upon their return to Zenzontla. The narrator recounts how Tanilo was ill and covered in painful blisters. Natalia and the narrator planned to bring Tanilo to Talpa, ostensibly so that he could be cured by the Virgin of Talpa, but in reality, they hoped he would die so they could continue their extramarital relationship without guilt. After Tanilo's death, however, Natalia refuses to speak to the narrator out of shame. The narrator concludes that he and Natalia must live with remorse and the memory of Tanilo's death as he watches Natalia cry with her mother. [12]
El llano en llamas (The burning plain)
The story begins with an epigraph from a popular ballad, the lines “They’ve gone and killed the bitch / but the puppies still remain…” This refers to the way that the spark that began the Mexican Revolution created successive movements which were often quite independent of its original impulses and were often difficult to bring to heel.
¡Diles que no me maten! (Tell Them Not to Kill Me!)
The story is about a man named Juvencio Nava, who pleads with his son Justino to intervene on his behalf in order to stop his execution by firing squad. Juvencio is about to be executed by a colonel for the murder of a man, Don Lupe, forty years earlier. The conflict arose when Don Lupe would not allow Juvencio to let his livestock graze on his land, and Juvencio did it anyway. His prison guard happens to be the son of the man he killed. Published as the seventh story in 1951 with a preface by Elias Canetti and Günter Grass.[13]
Luvina
Like other stories in The Burning Plain, “Luvina” is written in the form of a confession. The narrator is someone who previously taught in the town of Luvina, speaking to the new teacher who is about to travel there to replace them. This is not revealed until midway through the story, however.
La noche que lo dejaron solo (The night they left him alone)
This story takes place between 1926 and 1929 during what was known as the Cristero War. It is told in the third person by an omniscient narrator, who describes the flight of a Cristero soldier, Feliciano Ruelas, from a successful ambush of federal troops. When they cannot locate him, they kill his family members instead.[14]
Acuérdate (Remember)
The narrator begins by describing a man named Urbano Gómez. He had died around fifteen years before, but he was a memorable person. He was often called “Grandfather” and his other son, Fidencio, had two “frisky” daughters, one of which had the mean nickname of “Stuck Up.” The other daughter was tall and blue-eyed and many said she wasn’t his.[15]
¿No oyes ladrar los perros? (Don't you hear the dogs barking?)
The story opens with a father’s request that his son Ignacio tell him if he can’t hear any dogs or see any lights in the distance, as he is very nearly deaf and blind. The man is carrying his estranged adult wounded son on his back to find a doctor. Ignacio tells him that he doesn't hear any dogs or see anything, which doesn't satisfy his father. Ignacio is tired, begging for water and food, but the man cannot give these to him. He grows frustrated with his son, telling him that he hates him for the various crimes he's committed, including murder, but he is helping him for the sake of Ignacio's late mother. At the end, Ignacio realizes that there were, indeed, dogs barking in the distance. There is a translation of "¿No oyes ladrar los perros?" in English with the title "No dogs bark", an improper translation by Georg D. Schade,[16] at the University of Texas web-site.[9]
Paso del Norte (North Pass)
A father asks his son where he is headed, and learns his destination is “up North.” The son’s pig-buying business has failed, and his family is starving, which is in contrast with his father. The son says the father can not understand his family’s suffering because he sells “skyrockets and firecrackers and gunpowder,” which are popular whenever there are holiday celebrations. The business in pigs is more seasonal, and therefore less successful.
Anacleto Morones
One of the longer stories, it is told in first person by the character of Lucas Lucatero. Lucatero begins the story by cursing the women who have come to visit him. He is prideful and jealous, and though he does not confess to the crime directly, the repeated references to a pile of stones indicate the place of rest of the body of Lucatero's father-in-law, Anacleto Morones.[17]
La herencia de Matilde Arcángel (The Legacy of Matilde Arcángel)
This is one of two short stories that the author added to the second edition of the Spanish language collection in 1970. The final version of the collection has seventeen short stories.[18][19]
El día del derrumbe (The Day of the Collapse)
This is one of two short stories that the author added to the second edition of the Spanish language collection in 1970. The final version of the collection has seventeen short stories.[18]
References
- ↑ "The Burning Plain and Other Stories". University of Texas Press. 2019. Retrieved 2009-05-21.
Juan Rulfo received international acclaim for his brilliant short novel Pedro Páramo (1955) and his collection of short stories El llano en llamas (1953), translated as a collection here in English for the first time.
- ↑ "The Plain in Flames". University of Texas Press. 2019. Retrieved 2009-07-11.
Working from the definitive Spanish edition of El llano en llamas established by the Fundación Juan Rulfo, Ilan Stavans and co-translator Harold Augenbram present fresh translations of the original fifteen stories, as well as two more stories that have not appeared in English before—"The Legacy of Matilde Arcángel" and "The Day of the Collapse."
- ↑ "Structo Press | Structo". Retrieved 2020-01-17.
- ↑ "Juan Rulfo - Detalle del autor - Enciclopedia de la Literatura en México - FLM - CONACULTA". www.elem.mx. Retrieved 2023-07-04.
- 1 2 "Short Story Criticism Rulfo, Juan 1918–1986". Critical Reception. eNotes.com. 2009. Retrieved 14 January 2009.
- 1 2 Rulfo, Juan (1967). Editorial Reviews. University of Texas Press. ISBN 0292701322.
{{cite book}}:|work=ignored (help) - ↑ "Le Clézio Nobel Lecture". Le Clézio "In the forest of paradoxes". THE NOBEL FOUNDATION. 2008-12-07. Retrieved 5 January 2009.
(translation) To Juan Rulfo, to Pedro Paramo, and to the short stories from El llano en llamas, to the simple and tragic photographs that he took in the Mexican countryside
(original French) À Juan Rulfo, à Pedro Paramo et aux nouvelles du El llano en llamas, aux photos simples et tragiques qu'il a faites dans la campagne mexicaine - 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 Rulfo, Juan (1996). Toda la obra (in Spanish). Editorial Universidad de Costa Rica. ISBN 978-84-89666-16-0.
- 1 2 "Introduction". George D. Schade. University of Texas Press. Retrieved 2009-01-07.
- ↑ "Juan Rulfo / El llano en llamas / Es que somos muy pobres" (Online Text) (in Spanish). la Página de Los Cuentos. 2002-01-26. Retrieved 6 January 2009.
- ↑ "Juan Rulfo / El llano en llamas / El hombre" (Online Text) (in Spanish). la Página de Los Cuentos. 2002-01-26. Retrieved 6 January 2009.
- ↑ "The Burning Plain and Other Stories Study Guide". Short Summary According to Gradesaver Study Guides. 2009. Retrieved 14 January 2009.
- ↑ Sound recording of reading "¡Diles que no me maten!". Sound recording of reading. Retrieved 2009-02-13.
- ↑ "Juan Rulfo / El llano en llamas / La noche que lo dejaron solo" (Online Text) (in Spanish). la Página de Los Cuentos. 2002-01-26. Retrieved 6 January 2009.
- ↑ "Juan Rulfo / El llano en llamas / Acuérdate" (Online Text) (in Spanish). la Página de Los Cuentos. 2002-01-26. Retrieved 6 January 2009.
- ↑ Classe, Olive (2000). Encyclopedia of literary translation into English. London: Taylor & Francis. p. 1201. ISBN 978-1-884964-36-7.
"No dogs bark" is inappropriately titled, since the Spanish, "No oyes ladrar los perros", or "You don't hear dogs barking", refers to a father's anger
- ↑ Echevarría, Roberto González; Enrique Pupo-Walker (1996). The Cambridge History of Latin American Literature: The twentieth century. Cambridge, UK: Cambridge University Press. pp. 471–472, 639. ISBN 9780521340700.
- 1 2 A partir de 1970, fecha de la segunda edición, revisada por el autor, se incluyen dos cuentos más; El día del derrumbe y La herencia de Matilde Arcángel, haciendo un total de diecisiete relatos que conforman la versión definitiva.
- ↑ "Juan Rulfo / El llano en llamas / La herencia de Matilde Arcángel" (Online Text) (in Spanish). la Página de Los Cuentos. 2002-01-26. Retrieved 6 January 2009.