Orderly Observation to Symbolic Imagination

OSE JUAN ARROM'S generational scheme for Hispanic American Literature, while open to continued evaluation and review, nevertheless assists in recognizing change and development in the novel. Prose from 1924 to 1954, the dates of Arrom's two most recent generations,' undergoes numerous changes, some quiet, some dramatic. Sufficient transition occurs to suggest that a new novel or at least a new generation of novelists, emerged in Hispanic America by the early 1950's. The ruling literary powers of the twenties are not those of the fifties. Yet professors of literature and confused students little recognize their own disorder, excusing lack of understanding simply because they deal with a period, unable to be viewed in perspective. Whether two separate and unique generations actually exist may forever be unresolved; but change has occured. The parricide argued by Manuel Pedro Gonzilez2 seems an excessive exaggeration; a gradual development from mimetic to symbolic art is a much more reasonable approach.3 Lending credence to Arrom's groupings (1924 and 1954), as well as arguing for Earle's progressive development, is the publication of Juan Carlos Onetti's El pozo in 1939. Exactly in the middle of the thirty year span, it would correspond to a new promotion in Arrom terminology. One of the most vociferous among young writers, Mario Vargas Llosa, even classifies all Hispanic American novels prior to 1939 as primitive and heralds El pozo as the first real example of prose.4 While such an overstated assertion does reek of parricide and indicate an unhealthy generational intolerance, it nevertheless shows that even Spanish American artists recognize important changes in the current novel and seek to identify beginnings. Whatever the caus s for change-World War II, a new self-awar ness, natural literary evolution, de-emphasis of the rural in deference to city life, an opening to more foreign and specially United States literary influence, a more informed and broader reading public, more publishing houses, etc.5-the decade of the fifties is quite markedly a new generation. To comprehend more easily and categorize contemporary Latin American fiction the present study will examine five major traditional elements of literary creation in reference to two novels from each generation. La vordgine (1924) by Jose Eustasio Rivera and Doiia Bdrbara (1929) by R6mulo Gallegos well represent the twenties. Los pasos perdidos (1953) by Alejo Carpentier and Pedro Pdramno from the irregular hand of Juan Rulfo supply excellent comparative works from the fifties. Extensive innovation occurs in some as

Aesthetics · Art · Assertion · Credence · Exaggeration · Latin Americans · Linguistics · Literature · Narrative · Period (music) · Perspective (graphical) · Political science · Psychoanalysis · Sociology · Terminology · Comparative Literary Analysis and Criticism · History · Latin American Literature Analysis · Law · Philosophy · Psychology · Spanish Literature and Culture Studies

• "Correlacion entre algunos procedimientos estilisticos y la tematica en la ficcion extensa de Alejo Carpentier hasta "El siglo de las luces

  Agustin Bernal, Cida S Chase et al.•Hispania•1982

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