The President

The President

After reading Facundo, I wasn’t sure what to expect from this novel. That being said, I find this narrative much easier to follow!

I couldn’t help but think of Arthur Miller’s The Crucible while reading this book. The passage that initially triggered my memory was when General Canales cries “But I’m innocent! Why should I be afraid?” To which Angel Face replies “Whether you’re guilty or innocent is irrelevant...what matters is whether you’re in favour or not with the President...” (p. 63). The narrow-mindedness and disregard for the individuals being wrongfully accused characterized the government’s effort to eradicate perceived social ill. The unwillingness of those in power to believe individuals, such as General Canales, are innocent contributes to the hysteria gripping the society.

I was outraged reading chapter 18, especially page 128 when Don Juan calls Don José Antonio Canales to ensure he (José) won’t let Camila in. Don Juan and his wife are “trembling” in their shoes for fear that the “neighbourhood [would] be up in arms” if they would take their niece in. Asturias does such a good job conveying the hysteria gripping the characters which allows them to believe that those whom they have always considered upstanding people (e.g. General Canales) to be capable of committing unbelievable crimes (i.e. assassinating Parrales Sonriente).
I’m still not quite sure what to think of Miguel Angel Face, he is quite the paradox. Part of me feels that he is an evil man, an adviser to the president “wicked as Satan” (p. 37, 38, 96, 101...shall I go on?), solely empowering himself to occupy a higher rung in society. The other part of me, however, feels that he is a “beautiful” (p. 37, etc) person and shows compassion to Camila in her hour of need.

Going back to my point about hysteria, this novel reminds me of Rosas in Facundo because he uses violence and fear as a form of ruling a people. It seems that this president leaves his people in a state of constant fear, not sure of their fate because “It’s a lottery...the only law on this earth... [it] can send you to prison, have you shot, make you a deputy, a diplomat, President of the Republic, a general or a minister!” (p. 102). The metaphor that life is a lottery describes the typical state of the country where confessions are extracted and truth is obscured.

Facundo Continued...

The conversation held in class, in which we discussed that underneath the frock coat of every Argentine is a gaucho, resonated in my mind as I read the remainder of the book. The passage describing how “...the spirit of the Pampas is there in every heart, since if you lift up a bit the lapels of the tailcoat in which the Argentine disguises himself, you will always find a gaucho, more or less civilized, but always a gaucho.” (p. 167); defined the essence of Facundo me. The passage I believe compliments this sentiment is “When evil exists, it is because it is in things, and only there should one search for it...” (p. 145), proving that disguising oneself as “civilized” is futile because inherent in the individual is his innate barbarism. I had a hard time accepting the statement that Facundo “wasn’t cruel, wasn’t bloodthirsty...” (p. 175) because the graphic accounts throughout the rest of the novel would not support this statement (e.g. when Facundo bathes Severa Villafañe in her own blood and splits her head open!). The recurring color red sent chills down my spine as every time I came across it I envisioned terror and blood. I found myself stumbling over names and often forgetting the exact significance of the characters being presented. I was somewhat shocked in chapter 10, when Facundo showed a glimmer of humanity. I felt somewhat confused when Facundo showed mercy to the poor shopkeeper, showing a glimmer of hope that even a “Tiger” like him was capable of kindness. I say I was confused, because this random act did not coincide with the image I have of a man who cuts off his lover’s ears. Despite the excess blood, terror, and death in the book, the closing pages inspired hope. I was very appreciative that Sarmiento concluded his book in this fashion. His statements beginning “Because he has...” (fill in the blank with something terrible that was done) and concluding with what the new government will have to do, left me with a sense of hope that everything was going to be ok. This forward movement that learned and cultured people can overcome barbarism was an inspirational way to end the book.

Facundo chapter 1-5

Facundo (Chapter 1-5)

I was not completely sure what to expect from this novel. Based on our discussion in class, I knew that the reading would have something to do with “murder, madness, and mayhem”; I did not, however, realize how graphic some of the descriptions would be. As I am not a geography major, the first chapter was greatly appreciated to understand the natural features of the Argentine Republic. I felt that the chapters flowed in a manner which was easy to follow; from describing the landscape to describing the people inhabiting the landscape, etc. The chapters unfolded in a fascinating and controversial manner by establishing a sense of “civilized” city versus “barbaric” countryside. As mentioned in the translator’s introduction, Facundo represents the “violence and evil fostered by Rosa’s tyranny” (p. 18), which became painfully obvious in chapter V. In describing the life and character of Juan Facundo Quiroga, Sarmiento demonstrates the power of written word. With the might of his pen, Sarmiento conveys how merciless and callous Facundo was; without the use of diagrams, simply allowing the reader to rely on the power of his or her mind. From the reading I also learned about the life and ways of the gaucho. Sarmiento portrays the character of the gaucho; his ideas, customs, and characters, in a powerful description as “nomadic inhabitants of the Pampas” (p. 5) who rejected authority and city life. I expected the gauchos to be described as wholly barbaric, but they were shown to be great horsemen and autonomous individuals. Having the vivid imagination which I possess, I found it difficult to read certain passages in which Facundo kills for the sake of killing. It is obvious the author is hiding behind the mask of Facundo in his attempt to describe Don Juan Manuel Rosas. While many allusions were made regarding Don Rosas it was the depiction of him as a rancher who “made his residence into a kind of asylum for killers, without ever consenting to its use by thieves” (p. 75) which sent chills down my spine. This reference to Rosas set the stage for descriptions of the ruthless Facundo. From reading the first five chapters I believe this book will be a great insight into Latin American ideas, customs, and traditions which shape their history; in particular the history of Argentina.