Professional Documents
Culture Documents
MODERNISM
Benjamin Fraser
College of Charleston
C 2012 Southeastern Council on Latin American Studies and Wiley Periodicals, Inc. 75
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destaca, por otro lado, la tecnica expresionista de Lillo (142). Even here,
however, modernism is not even mentioned, despite that the stories in Sub
terra had been written and published during a time in which the move-
ment was very much in vogue. Importantly, Lillos stories are composed
and read during the first half of the rise of modernism, if not at its apogee,
understandably fusing naturalist intent with modernist flourishes.7 In the
following, final part of this section, I look briefly at one of the stories from
Sub terra in particular (El pago) as an example of how he tends to give
equal weight to both naturalist and modernist elements.
The story El pago provides a splendid introduction to the way in
which Lillo folds naturalism and modernism together, even though each
approach is here clearly more discretely delineated than in other stories.
As its title indicates, this story is concerned with a single pay-day marking
the end of a fortnights work, and centers on one miner, Pedro Mara, and
his familys anticipation of his earnings. El pago initially develops along
classically naturalist lines, emphasizing the social and physical context of
mining work and the way in which it determines and ultimately stifles
the development of the protagonist. Lillo emphasizes that there is little
to eat and mentions how the provisions purchased by the miners are
controlled by the company through monopolistic practices (50, 53). Here,
the mine as a physical environment a place of unbearable heat and scarce
ventilation (49) mirrors the social limitations faced by those living in the
mining village. But Lillo perhaps most clearly engages a characteristically
Zola-esque Naturalism in the attention he places on faithful descriptions
of the drudgery and hard labor of mining work itself, as in the following
typical example:
In form, the prolonged length of the last sentence reflects the psychic
experience (drudgery) of a long working day, while the repeated use of
commas conveys the repetitive motion of swinging the pick; in content,
squaring with the naturalist aims of the storys author, Lillo depicts the
miners everyday activity and, in a larger sense, the confinement wrought
of routine behaviors and the limitations of social possibilities. Throughout
Lillos prose, Pedro Mara is in fact completely defined by and through
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In La compuerta numero
12, Lillo complements the naturalist intent
motivating Germinal with a distinctly Latin American form of Modernism.
The focus of this masterful second story of Sub terra is the introduction of a
young boy, age 8, to the harsh reality and punishing work environment of
the mine. Lillos inclusion of the boys age reflects not merely his first hand
experiences of mining work in his native region of Chile, but also his own
literary education, influenced by a reading of Germinal wherein the old man
Bonnemort curiously relates having started work in the mine at age 8 (I
wasnt even eight years old the first time I went down in a mine. It was Le
Voreux, as it happens, Zola 11).11 Certainly the denunciation of child labor
as a social issue to be remedied constitutes the heart of the storys narration.
The story depicts Pablo, age 8, taking over the job of an equally-young boy
Jose who was crushed one day earlier while on the job (15). Lillos sparing
naturalist dialogue reflects the fathers awareness that reluctance to work
has no place in the world of a mining community when he hands the boy
over to the foreman: Senor, aqu traigo el chico (14). The factual details
sketched out by Lillo in his presentation of an accurate and believable
mining environment are just as somber: there are six members of Pablos
family and only one works. The boys fate is to be a miner, just as his
father has been, and the sooner the better, especially given that his father
is himself in jeopardy of being fired for underproduction (15).
Just as in Lillos story Los invalidos (to be discussed below), the
narration in La compuerta points out how the mine uses people up,
wearing them out before their time, referencing el fatal lindero que una
vez traspasado, convierte al obrero viejo en un trasto inutil dentro de
la mina (16) and pointing out that Pablo is not the only young one to
suffer this fate (pues haba en la mina muchsimos otros de su edad,
desempenando
el mismo trabajo, 19). Certainly, description of the cord
by which the father physically ties the son to his work post needs no literary
flourishes to emphasize how trapped the boy is (20). Yet elsewhere, Lillo
frequently goes beyond sparing elaboration and a paucity of isolated but
penetrating details in his description, which is better described as lyrical.
In his evocation of the foremans reaction to the young boy, Lillos prose
is by contrast inspired:
Here there is also the basic metaphor of the mine as a creature that ran
throughout Zola, as Lillo writes of the entranas
de la tierra (16) and
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Whereas Zola presents us with the dead horse (Trumpet) and soon leaves
things equine for the human drama of the strike, here in a poetic twist
Lillo extends the moment of the horses death to occupy the whole of the
short story, thereby mythologizing it as if it were now a prose poem. The
denouement of Los invalidos (in fact, the story might be more properly
understood as itself one continuous denouement), constructs a lasting
image of the permanence of death, and by extension, the lack of hope that
pervades the mining landscape of Southern Chile. Although the horse is
as good as dead not even flies want his flesh (1011) Lillos story is
in fact more powerful precisely because he makes it out of the mine and
gets a chance to revisit the outside world that he was deprived of for so
long. In the final paragraph, Lillo harnesses the modernist emphasis on
inner experience by way of externalizing the subjective experience of the
dying horse in his description of both the mine and the landscape atop
the pit.
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In tune with Zolas appropriated base naturalistic style, the story empha-
sizes the complete lack of benefits for the companys injured miners (67),
pointing out the workers have no hope to request reassignment lest they
be fired and reduced to begging (64). In fact, they would rather die fast
while working than slowly on account of hunger (63). But moreover,
as the narrator points out in the lexicon of naturalism, assignment to El
Chiflon
is their destiny (estaban resueltos a seguir su destino, 63). As
in Germinal, here too the social content of the story is clear, even if the pos-
sibility of strike or rebellion seems superfluous in the Chilean context. The
protagonist wonders: Cuantas veces en esos instantes de recogimiento
haba pensado, sin acertar a explicarselo, en el porque de aquellas odiosas
desigualdades humanas que condenaban a los pobres, al mayor numero,
a sudar sangre para sostener el fausto de la inutil existencia de unos
pocos! (66).
Against the background of a naturalist style, however, once again Lillo
turns to elements of a Modernist aesthetic for the crucial elements of El
Chiflon del Diablo. Faced unexpectedly with the death of her son in
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the companys deadliest pit, Cabeza de Cobres mother ends her life by
allowing herself to fall into the same pit that has killed her son. Clearly
separated by lines within the text, the storys last paragraph reads:
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Here, the author fully retreats from a naturalistic indictment of the harsh
conditions of social life to that very modernist world of myths and legends,
the mysterious and the improbable, that has haunted many of the stories
in Sub terra.
Conclusion
In their refusal to embrace fully either a strict Naturalism or a canonical
Modernism, the stories contained in Sub terra constitute a complex literary
production that deserves to be more carefully mined by contemporary
scholars able to work outside canonical categorizations. As we have seen,
in many of the stories from the volume, Lillo is curiously attentive to the
central tropes of modernismin El pago, a dream serves as escape from
the harsh social conditions surrounding exploited mine workers; in La
compuerta numero 12, the poetic description of a somber mood predom-
inates; in Los invalidos, (where Lillo reappropriates an episode from
Germinal) and in El Chiflon, he dwells on a poetic/lyrical description of
landscape and breathes an unconventional (fantastic) modernist influence
into a naturalist metaphor of the mine as a monster; and finally in Juan
Farina
he carves out a space in his oeuvre for a story that is truly fantastic
from start to finish. Throughout Sub terrain his fierce documents of the
social ills of a system of underground workthere is nonetheless frequent
reason to look outside the restrictive label of naturalism in order to gain
a more thorough appreciation of Lillos incorporation of modernist ele-
ments. Once the canonical, naturalist image of the Chilean is destabilized,
scholars may find it appropriate to noteas Max Henrquez Urena noted
decades ago in his Breve historia del modernismothat the distance between
modernism and naturalism in Latin America may not be that great after all.
If en el modernismo encontramos el eco de todas las tendencias literarias
que predominaron en Francia a lo largo del siglo XIX: [ . . . incluso . . . ]
el naturalismo (Henrquez Urena 12, my emphasis), perhaps that echo
can best be heard beneath the surface of the earth in Baldomero Lillos
underground modernism.
Endnotes
1
I also want to make clear that I am not the first to suggest a mod-
ernist aspect to Lillos literary production. Vctor M. Valenzuela argues
in a brief mid-twentieth-century essay titled simply Baldomero Lillo and
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horizon only from the March wind blowing in broad, sweeping gusts as
though across a sea, bitterly cold after its passage over league upon league
of marsh and bare earth. Not a single tree blotted the skyline, and the road
rolled on through the blinding spume of darkness, unswerving, like a
pier. (5)
The plain is a sea, the horizon is oceanic, the road is a pier. This rare
foray into poetic prose that in some respects is at odds with the goal of
the straightforward naturalism frequently attributed to Zola as one might
expect has a larger purpose in the context of the novel as a whole. The
Frenchman introduces his novel with a captivating visual metaphor for
the superimposition of ocean and land precisely as a foreshadowing of the
works catastrophic endthe anarchist coal-miner Souvarine will flood
the mine with water.
11
The story El pago, also in Sub terra similarly includes a reference to el
portero de ocho anos
(53).
12
Duran Luzio (1988) points to this similarity (6768), although I have
attempted to do so above more extensively.
13
Duran Luzio (1988) appears to be the first to draw attention to this
correspondence (73).
14
Pilar V. Rotella (2004) points out that Lillo diverges from the basic
tenets of rules of naturalism (206) in that his narrators often break out of
the expectation of impersonality to launch a direct critique of exploitative
social practices, as in El Chiflon
del Diablo (207).
15
In his edition of Lillos Obras completas, Raul Silva Castro also points out
that it was difficult for Lillo, as for others, to avoid the influence of Daro
at the time (Lillo 1968, 16). Rotella (2004) also draws attention to the poetic
description of landscape in Lillos stories (207).
Works Cited
Alegra, Fernando. Introduccion a los cuentos de Baldomero Lillo. Re-
vista Iberoamericana 24 (1959a): 24763.
. Introduction. The Devils Pit and other stories. Trans. Esther S.
Dillon and Angel Flores. Pan American Union, Washington D.C., 1959b.
i-xxx.
Anderson Imbert, Enrique. Spanish-American Literature: A History. Trans.
John V. Falconieri. Detroit: Wayne State University Press, 1963.
Aztorquiza, Octavio and Oscar Galleguillos V. Cien anos del carbon de Lota
(1852- septiembre-1952). 1952. Santiago: Orgenes, 2005.
Brown, Donald F. A Chilean Germinal: Zola and Baldomero Lillo. Mod-
ern Language Notes 65.1 (1950): 4752.
Chavarri, Jorge M. El significado social en la obra literaria de Balomero
Lillo. Kentucky Foreign Language Quarterly 13 (1966): 513.
Davison, Ned. The Concept of Modernism in Hispanic Criticism. Albuquerque:
University of New Mexico Press, 1966.
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