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Monday, November 22nd, 2010
1Jesus, full of the Holy Spirit, left the Jordan and was led by the Spirit into the wilderness, 2 where for forty days he was tempted by the devil. He ate nothing during those days, and at the end of them he was hungry.
3 The devil said to him, "If you are the Son of God, tell this stone to become bread."
4 Jesus answered, "It is written: 'Man shall not live on bread alone.'"
-- Luke 4 (NIV, 2010)
After he had walked he knew not how many hours, thirst and weariness were defeating him. He thought to himself that his destination could not be so far away now. He felt he was lost. The only thing that he could do was to let himself fall onto the sand. He sat in a lotus position, his little paper sack between his legs. As always in such difficult emotional times he commenced to pick his nose. He looked about himself: it was as if he were in the dead center of a circle composed of the horizon on all sides, a circle as if it had been traced by some celestial hand, perfect, round, endless. The silence, the solitude were of such divine purity, they moved him, they were tangible. He removed his sandals. He wanted to take communion with the land.
He sat there, listening, for a long time.
Evening's flame lit the horizon. Red. Impressive. Overwhelming. It made him think of dusk, of Golgotha. His surroundings swam before his eyes into a great ring of fire. "The fiery ring of a lion-tamer," he said. He sensed suddenly, and with divine clarity, that the lion-tamer was God; he, the lion, tamed. That his master was ordering him to jump. Yes; to jump. Highest glory to the Eternal Father!
He jumped.
He closed his eyes and jumped.
-- The art of resurrection ch. 4
The art of resurrection is reminding me a bit of reading The Gospel according to Jesus Christ (and I ought to track down Saramago's take on the temptation in the desert passage...) in the degree of sympathy each author expresses for his imperfect messiah.
 Update: ...And also SFAM is getting in on the Messianic action.
posted evening of November 22nd, 2010: Respond
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Sunday, November 21st, 2010
In the midst of that curious crowd, the Christ of Elqui was not silent. On the contrary: with the purple taffeta of his cape broiling under the sun he stood, he turned toward the dead man. An absent, almost translucent look was on his face, like someone who is looking at a mirage in the desert. He seemed to be struggling with a deep-seated psychic dilemma. After an instant which seemed an eternity, with a histrionic wave, he looked away from the dead man; he raised both arms above his head and opened his mouth to speak, bearing infinite pain in the inflections of his voice:
— I am sorry, my brothers, but I can do nothing; the sublime art of resurrection belongs exclusively to God the Father.
But the miners had not come to hear rejection, rejection wrapped up in the celophane of pretty phrases. Surrounding him, their wiry beards almost touching him, they pleaded, they demanded, they begged him in the name of God Most Holy, o Lord Christ, at least try it. That it will cost him nothing to try. That all he need do is to place his blessed hands over the body of their friend — as they have seen him do for the infirm among them, all these days — and to recite a few ave marias or a pater noster. Or whatever he might find to say. He must know better than them which things one must say to the ancient one on high, to convince him. And who knows, perhaps God in his moment will understand, and take pity on their comrade, the best among strong working men, who has left in this vale of tears a widow, still young, and a crowd of seven little kids, imagine it, o Lord, seven children, evenly spaced, all still quite young.
— This poor kid Lazarus, his body here with us — cried one of them, turning to the deceased, laying his arms in a cross over his chest — you could say he is a countryman of yours, sir, for just like you, as we have read of you, he was born in a village of Coquimbo province.
The Christ of Elqui lifted his gaze to the eastern sky. For a moment he appeared fascinated by a far-off flock of birds, flying in slow circles above the gravel plain, flying over the dusty cement of the salitrera. Pulling at his bushy beard, thinking and rethinking what he was going to say, he spoke in an apologetic tone:
— We all know where we were born, o my brothers, but not where our bones will lie buried.
El arte de la resurrección is seeming like one of the best novels I've ever read. Do I overstate? Perhaps -- translating is a different lens through which to view the reading process, it adds a certain meta-narrative tension that is not always present (or present to varying degrees) when reading my own English. But these fantastic paragraphs are chosen practically at random from the cornucopia of the first couple of chapters that I've read so far.
The gentle, brutal good humor of the narrator's relationship with his characters and his scenes-- the switch for instance to second person when the miners address the Christ of Elqui and then quickly back to third, so there is some confusion about where the focus should lie, turns the reader's head, makes him wipe his forehead in disbelief.
posted evening of November 21st, 2010: Respond
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Wednesday, November 17th, 2010
In all the years he had been carrying his lessons through the land, preaching his axioms, counsels and wise thoughts regarding the good of Humanity -- and declaring in passing that the Day of Judgement is at hand, repent, sinners, before it is too late -- this was the first he had ever experienced a success of such sublime profundity. And it had taken place in the dry desert of Atacama, more precisely in the wasteland of a saltpetre mining camp, the least likely setting for a miracle. And to top it off the dead man had been named Lazarus.
-- The art of resurrection
Hernán Rivera Letelier
posted evening of November 17th, 2010: Respond
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Sunday, November 14th, 2010
Reading Rivera Letelier is putting me in mind of Faulkner or Saramago. His sentences have a dense lushness, a gentle rhythm that allows the mind to wander and then pulls it back in to the flow of the syntax. (This effect is really heightened for me by the sentences being in a language I don't fully understand -- I find myself reading over several times, first to establish the rhythm, then slower, to get a fuller understanding of the meaning, then over, slowly the rhythm and the narrative come into sync for me.)
posted afternoon of November 14th, 2010: Respond
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Wednesday, November 10th, 2010
Doing a little more research about Rivera Letelier's book: I was apparently imprecise in calling it an homage to Parra's poem. It looks like both the poem and the book are based on the life of a real historical figure named Domingo Zárate Vega who preached imminent apocalypse in the Elqui Valley of the 1930's. (I am hedging a bit because I'm not finding much primary source material about Zárate Vega on the internets. But multiple pages about the book and about the poem make reference to their being based on real history. An article in the Patagonia Times states that Rivera Letelier "researched the actual existence of the Christ of Elqui for his book and includes a bibliography at the end to avoid accusations of plagiarism" -- I am not finding this bibliography in my copy, which is disappointing and confusing.) From the same Patagonia Times article, a beautiful anecdote about how Rivera Letelier, who grew up in a lower-class family and initally worked as a miner, came to his writing career:
Rivera Letelier began to write when he was 21 years old “because of hunger.†Listening to the radio with an empty stomach, he heard the announcement of a poetry competition whose award was a dinner in a luxurious hotel. He wrote a four-page love poem and won the meal.
I'd love to read that poem, and I wonder if Rivera Letelier has written an autobiography...
 Update: a little information about Zárate Vega in this post from Loruka, who lives in La Serena.
posted afternoon of November 10th, 2010: 1 response
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Tuesday, November 9th, 2010
 I bought a book last night on the strength of its cover -- The magnificent cover photo (a still from Buñuel's Simon of the Desert) made me pick it up and read the back cover, made me buy the book and start reading... It is an homage to NÃcanor Parra's Sermones y prédicas del Cristo de Elqui, about a young man from Chile's Elqui Valley who discovers that he is the reincarnation of Jesus Christ. Very dry humor and lovely prose.
Here is a bit of linguistic confusion I found entertaining -- early in the novel the narrator is talking about Christ's difficulties with his good-for-nothing apostles, who are always stuffing themselves, guzzling liquor and smoking -- he compares this with the Messiah's ascetic ways using a quick shift from third to first person, which is made more subtle and confusing by Spanish's imperfect tense. In Spanish, the first person singular imperfect and the third person singular imperfect are usually (maybe always?) the same. So when Letelier writes
Él, por su parte, que debÃa ser luz para el mundo, no fumaba ni bebÃa. Con un vaso de vino al almuerzo, como exhortaba en sus prédicas, era suficiente. Y apenas probaba la comida, porque entre mis pecados, que también los tengo, mis hermanos, nunca figuró la gula. Tanto asà que a veces, por el simple motivo de que se olvidaba de hacerlo, se pasaba dÃas completos sin ingerir alimentos.
The first sentence is obviously the narrator speaking, because its subject is "Él". The second sentence is still referring to Christ in the third person, speaking of "sus prédicas". The beginning of the third sentence looks like it is still doing so until we get to "mis pecados" and "los tengo", and realize Christ is speaking now. Then in the fourth sentence we are back to third person as evidenced by the use of "se" instead of "me" -- I found it surprising what a small proportion of the words in this passage distinguish between the two voices.
posted afternoon of November 9th, 2010: 3 responses
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Friday, April third, 2009
Saramago writes today about the 1907 strike and massacre in Iquique, Chile, in which the Chilean army (under pressure from the government and from foreign mine-owners) murdered more than three thousand people, striking saltpetre miners and their families who had congregated at the school of Santa MarÃa to demand an 18¢ per day wage paid in currency rather than scrip. The event was memorialized in the 1970's when Luis Advis wrote his "Cantata de Santa MarÃa de Iquique" -- here it is performed by Quilapayun. Lyrics are transcribed here.
 (a year and a half later) This massacre is quite an important reference point in Hernán Rivera Letelier's work.
posted evening of April third, 2009: Respond
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