Latin American Boom

The Latin American Boom (Boom Latinoamericano) is the name applied to a period during the 1960s and 1970s when the work of a group of relatively young Latin American novelists became widely circulated in Europe and throughout the world. This sudden success (hence the movement's name) came in large part thanks to the fact that these authors' works were among the first Latin American novels to be published in Europe, by publishing houses such as Barcelona's Seix Barral in Spain. Indeed, Frederick M. Nunn writes that "Latin American novelists became world famous through their writing and their advocacy of political and social action, and because many of them had the good fortune to reach markets and audiences beyond Latin America through translation and travel--and sometimes through exile." One of these published novels was the novel La ciudad y los Perros written by Mario Vargas Llosa.

The rise of Latin American literature starts with the writings of Jose Marti, Ruben Darío and José Asunción Silva's modernism stepping aside from the European literary canon. However, European modernist writers like James Joyce have influenced the writers of the Boom, as have the Latin American writers of the Vanguardia movement.(from:Coonrod Martinez, Elizabeth. Before the Boom: Latin American Revolutionary Novels of the 1920s. New York: University Press of America, 2001. Pp. 2-3,119)

Background of the Latin American Boom

A radical shift in the way in which history and literature were conceived, interpreted, and written produced a change in the self perception of Spanish American novelists between 1950 and 1975. The development of the cities, the coming of age of a large middle class, the Cuban Revolution, the Alliance for Progress, an increase in communication between the countries of Latin America, the greater importance of the mass media, and a greater attention to Latin America from Europe and the United States, contributed to this change. The most important political events of the period were the Cuban Revolution in 1959 and the Chilean coup d´état in 1973, but there were also others that affected writing, as they generated explanations, testimonies, or served as a troubling background:

• The fall of General Perón in Argentina
• The protracted violent struggle of the urban guerrillas, brutally repressed in Argentina and Uruguay, and the unending violence in Colombia.

In general -and considering there are many countries and hundreds of important authors- at the start of the period Realism prevails, with novels tinged by an existentialist pessimism, with well-rounded characters lamenting their destinies, and a straightforward narrative line. In the 1960´s, language loosens up, gets hip, pop, streetwise, characters are much more complex, and the chronology becomes intricate, making of the reader an active participant in the deciphering of the text. Late in the period the political adventure goes sour, while the linguistic sphistication reaches a new height, and novelists turn more to a reflection on their own writing, a fiction on fiction or metafiction, while characters and story lines show the corrosive power of a Postmodern society, where all is equally available and insignificant. (information of Randolph D. Pope from Echevarría, González Roberto. "The Cambridge History of Latin America, Volume 2: The Twentieth Century" Cambridge University Press. 1996)

Influences of the Latin American Boom

The history of the Spanish American novel from 1950 to 1975 saw a change in the standing of the native writers, who went from marginal and tolerated - the center having been earlier Paris and New York- to central and celebrated. Simultaneously there was a shift from the novel as history to history as a novel, from the power of facts to the preeminence of the world.

Major representatives

The Boom's major representatives include:

• The Argentine Julio Cortázar was born in Belgium in 1914 and died in Paris, France in 1985. He was influenced by Borges his works are Final del Juego, Bestiario, Las Armas Secretas, Todos los juegos el fuego, the storytellers of Rayuela and the Premios, Winners in 1960, novels like: Historias de Cronopios y de famas and another famous novel is Vuelta al día en 80 mundos. His most important work was the novel Rayuela.
• The Mexicans Carlos Fuentes, Octavio Paz and Juan Rulfo]
• The Peruvian Mario Vargas Llosa, he jumped out to fame with his novel La ciudad y los perros. In this novel he gathers hate, and violence, proper elements of a city. He also wrote La Casa Verde, Los Cachorros, Pantaleón y las Visitadoras, Conversaciones en la Catedral, La tía Julia y el Escribidor. The characteristics of his novels were a complex tecnique where there are overlapping monologues, dialogues, actions, different spaces and time. He gives very vague descriptions with an implacable and hard style of writting. One of his most important dialogues of this famous peruvian novelist is called Día Domingo.

and especially

• The Colombian Nobel Prize winner Gabriel García Márquez.

However, in the light of these authors' success, the work of a previous generation of writers also gained access to a new and expanded public, such as Jorge Luis Borges, Miguel Ángel Asturias, Alejo Carpentier, and Juan Rulfo) . Jorge Luis Borges (1898-1986), whose most famous works include Fervor de Buenos Aires, Luna de Enfrente, El Aleph, Historia Universal de la Infamia, Ficciones, Elogio de las Sombras, informe de Crodie, Oro de los Tigres, Inquisiciones and Historia de la Eternidad wrote stories that he described as fiction or symbolic stories, with real or imaginary characters which move between the reality, magic and satiric scenes. As well as being a publishing phenomenon, the Boom introduced a series of novel aesthetic and stylistic features to world literature. Though the various Boom authors often differ very much from each other, and should not be regarded strictly as a school or movement, they have come to be associated above all with so-called magical realism.

Hallmarks

Magical realism

See also: Magical realism

The awestruck writings of the Chroniclers of the Indies and their sense of being in another world, conquering strange new lands unparalleled outside of chivalric romances, became a cultural touchstone for the people of Latin America. From these fantastical tales developed a new aesthetic, which matured into magical realism and (as conceived by Alejo Carpentier) marvelous realism or lo real maravilloso. According to this aesthetic, unreal things are treated as if realistic and mundane, and mundane things as if unreal. Plots, while often based on real experiences, incorporate strange, fantastic, and legendary elements, mythical peoples, speculative settings, and characters who, while plausible, could also be unreal, and combine the true, the imaginary, and the nonexistent in such a way that they are difficult to separate.

Comparing a novel written before the Latin American Boom to one written under its influence, the former is likely to strive for authenticity and reality, depicting a plain and somber reality, while the latter strives to show multiple facets of each character and each place. Boom literature breaks down the barriers between the fantastical and the mundane, transforming this mixture into a new reality. Of the Boom writers, Gabriel Garcia Marquez is most closely associated with the use of magical realism.

Historical fiction is another characteristic of the novels of the Boom period.

Publishing places for the Latin American Boom novelists

It should not surprise anyone that most novels mentioned in the Latin American Boom were published in Havana, Mexico City, Buenos Aires, Montevideo, Asunción or Santiago. Those have been the sites of important publishing houses and strong centers of cultural innovation. Yet in this period many novels are published in Barcelona, reflecting the new interest of Spanish publishing houses in the Spanish American market.

• Buenos Aires and Montevideo had their own local stars, such as Murena and Mallea, Bio Casares or Viñas, but some of their works do not travel well;
• Santiago in Chile, is presided by the criticism of Alone, while the older generation of Benjamín Subercaseaux, Eduardo Barrios, Marta Brunet, and Manuel Rojas is quietly superseded by José Donoso. Other writers, such as Enrique Lafourcade, have a large national readership.
• Cuba is a lively cultural center, first with the group of Orígenes, and then with Lunes de Revolución
• In Colombia the rural novels of Caballero Calderon are displaced by García Márquez who is followed by Alvarez Gardeazábal. ¨
• Mexico continues a tradition of strong regional writers and diverse schools of writing, from Yañez to Sainz, with novelists such as Luis Spota or Sergio Fernández, the first a popular, the other a refined, writer, both better known in Mexico than abroad. (information of Randolph D. Pope from Echevarría, González Roberto. "The Cambridge History of Latin America, Volume 2: The Twentieth Century" Cambridge University Press. 1996)

Post-Boom

Since the 1980s it has become common to speak of Post-Boom writers, most of whom were born during the 1940s, 1950s, and 1960s. The Post-Boom is distinct from the Boom in various respects, most notably in the presence of female authors such as Isabel Allende, Luisa Valenzuela and Elena Poniatowska.

Critique

A common criticism of the Boom is that it is too experimental and has a "tendency toward elitism" Also oft criticized is the Boom's emphasis on masculinity, both in the fact that all of the movement's representatives were male and the treatment of female characters within the novels.

Chronology

Some of the major publications and landmarks of the Boom and its precursors:

• 1949: Alejo Carpentier, El reino de este mundo
• 1949: Miguel Angel Asturias, Hombres de maíz
• 1955: Juan Rulfo, Pedro Páramo
• 1962: Carlos Fuentes, La muerte de Artemio Cruz
• 1963: Mario Vargas Llosa, La ciudad y los perros
• 1963: Julio Cortázar, Rayuela
• 1964: Clarice Lispector, A paixão segundo G.H.
• 1966: Emir Rodríguez Monegal founds Mundo Nuevo (1966–1971) in Paris
• 1966: José Lezama Lima, Paradiso
• 1967: Miguel Angel Asturias awarded the Nobel Prize in literature
• 1967: Gabriel García Márquez, Cien años de soledad
• 1967: Jorge Amado, Dona Flor e Seus Dois Maridos
• 1967: Guillermo Cabrera Infante, Tres tristes tigres
• 1967: Severo Sarduy, From Cuba with a Song / De donde son los cantantes
• 1970: José Donoso, El obsceno pájaro de la noche
• 1974: Augusto Roa Bastos, Yo, el Supremo
• 1982: Gabriel García Márquez awarded the Nobel Prize in literature

See also

• Latin American literature
• Dictator Novel
• McOndo

References

• Coleman, Alexander. "Guide to the Latin American Boom." Review of José Donoso's The Boom In Spanish American Literature: A Personal History (New York: Colombia University Press). Boston Review (Fall 1977).
• Levinson, Brett. The Ends of Literature: The Latin American "Boom" in the Neoliberal Marketplace Stanford: Stanford University Press, 2001.
• Nunn, Frederick M. Collisions With History: Latin American Fiction and Social Science from El Boom to the New World Order. Athens, Ohio: Ohio University Press, 2001.
• Shaw, Donald L. The Post-Boom in Spanish American Fiction. Albany: SUNY Press, 1998.
• Echevarría, González Roberto. "The Cambridge History of Latin America, Volume 2: The Twentieth Century" Cambridge University Press. 1996