15 minutes ago
Let me tell you about a curious experience I had this summer. I was writing a novella about the adventures of Ambrose Bierce in Mexico. Bierce went to Mexico during the Revolution, in 1914, to join up with Pancho Villa's army. I had the problem that the voice had to be Bierce's, and it was extremely difficult to render in Spanish. I had to make Bierce speak with his voice, which is available to me in his stories, so I wrote the novella in English. It was an absolutely terrifying experience. I would be writing along in English when suddenly from under the table Mr. Faulkner would appear and say aah, aah, can't do that, and from behind the door Mr. Melville would appear and say, can't do it, can't do it. All these ghosts appeared; the narrative tradition in English asserted itself so forcefully that it hamstrung me. I felt very sorry for my North American colleagues who have to write with all these people hanging from the chandeliers and rattling the dishes. You see, in Spanish we have to fill in the great void that exists between the seventeenth and the twentieth centuries. Writing is more of an adventure, more of a challenge. There is only a great desert between Cervantes and ourselves, if you except two nineteenth-century novelists, Clarin and Galdos.
..I remember ten years ago I was talking to an American writer, Donald Barthelme, and he said, “How do you do it in Latin America? How do you manage to write these immense novels? Come up with all these subjects, these very, very long novels? Is there no paper shortage in Latin America? How do you do these things? We find we have great difficulty in the United States as American writers to find subjects. We write slim books, slimmer and slimmer books.” But what I answered on that occasion is that our problem is that we feel we have everything to write about. That we have to fill four centuries of silence. That we have to give voice to all that has been silenced by history.
If you had asked me today where the novel is alive and kicking, I would say it's basically in Latin America and in so-called Eastern Europe, which the Czechoslovaks insist on calling Central Europe. They think of Eastern Europe as Russia. In any case, there you have two cultural zones where people feel that things have to be said, and if the writer does not say them, nobody will say them. This creates a tremendous responsibility; it puts a tremendous weight on the writer, and also creates a certain confusion, because one could say, Oh, the mission is important, the theme is important, therefore the book has to be good, and that is not always the case. How many novels have you read in Latin America that are full of good intentions—denouncing the plight of the Bolivian miner, of the Ecuadorian banana picker—and turn out to be terrible novels which do nothing for the Bolivian tin miner or the Ecuadorian banana picker, or anything for literature either . . . failing on all fronts because they have nothing but good intentions.
But still, we had a whole past to talk about. A past that was silent, that was dead, and that you had to bring alive through language. And so for me writing was basically this need to establish an identity, to establish a link to my country and to a language which I—along with many other writers of my generation—felt we in some way had to slap around, and wake up, as if we were playing the game of Sleeping Beauty.