Bakhtinian approaches to the indigenous world of Manuel Scorza
Oswaldo Estrada
University of North Carolina at Chapel Hill
Relying on the
novel as the optimum medium to represent the dialogic encounter of
various social languages, the Russian thinker Mikhail Bakhtin
recreated in the first part of the twentieth century a hybrid world
of intertwining ideological systems. He conceived the novelistic
whole as a puzzle of compositional-stylistic unities, made up of
unique dialects, authorial literary-artistic narration, different
forms of oral or semiliterate discourse, and the personalized
speech of characters. As literary critics of today, we can still
draw on his theorizations regarding the ambiguous nature of the
novel, a heterogeneous genre that allows individual voices to have
some degree of autonomy while they remain subordinated to a leading
language that controls the course of the narrative. By virtue of
this novelistic conflict between multiple discourses, also known as
heteroglossia, the reader can observe how opposing
languages -centrifugal and centripetal, official and unofficial-
encounter each other dialogically to reflect «the interaction among different attitudes and
opinions of a society»
(Booker 479).
This sort of
societal representation is achieved in Manuel Scorza's Redoble por
Rancas1,
a neoindigenist novel that confronts various social
languages2.
Divided in two intermingling parts, one that delineates the
conflict between the comuneros of Yanacocha and the town of Yanahuanca,
and another one that portrays the silent battle between the village
of Rancas and the International Cerro de
Pasco Mining Corporation, the novel takes us to the
center of a heteroglossic world. Scorza's «account of the transition from a semifeudal
system of land tenure ("gamonalismo") to more "modern" forms of
imperialist and capitalist exploitation»
(Larsen 137)
embraces the orality of the Peruvian Central Andes and delineates
its social dialects. Loaded with autochthonous sounds from the
highlands, the language of the extremely poor and unprotected
peasants, the authorial voices of the gamonales, and the standard Spanish dialect
of those individuals from the Peruvian capital who reside in the
Andes, the text highlights the language of the Indian, one that
relies on «traditional oral stories,
proverbs, prayers, formulaic expressions, or other oral
productions»
to perpetuate its existence (Ong
11)3.
From its opening
sentences, Redoble
por Rancas confirms the validity of Bakhtin's postulates in
regards to the «living words in a novel», since every
utterance of the indigenous or mestizo individual is «charged with value... entangled, shot through
with shared thoughts, points of view, alien value judgments and
accents»
(276). This is obvious throughout the novel, but
particularly when the leader of the Indian peasants, Héctor
Chacón, reassures the people of his village that they will
lose all their pastures and communal lands, due to their failure to
combat the semifeudal landowner of Junín. As this
revolutionary confirms what seems to be a perennial state of Indian
servitude, Héctor tells them, full of rage and irony, that
they will have access to a better world «cuando vuelen los
chanchos»
(45). The presence of this
deterministic proverb explicitly engraves in the text not only the
agonistic situation of the subaltern but also the seemingly
impossibility of his survival in the presence of oppressing forces.
Later on, the struggle between these two social groups is
reinforced when mestizo Prefect Figuerola expresses his despotic
attitude toward the Indians: «Hace años que soy autoridad. Yo
he servido en casi todos los departamentos. Nunca he conocido un
indio recto»
(145). The inclusion of these
words in the text reminds us, once again, of the Manichean
construction of postcolonial Latin America, where whiteness and
Spanish heritage are consistently placed in a higher category than
the Indian and his native culture.
Far from being a system of abstract grammatical categories, the language employed by these characters is ideologically saturated and reflects an ongoing struggle. In Redoble por Rancas the voices of those who belong to the world of literacy diminish the Indian background by stating that the indigenous people are worthless, or «uncivilized». The conflict between orality and literacy in the novel, rooted in the same axis of civilización y barbarie that permeates a great deal of Latin American literature, represents the argument between two worlds separated by the nature of their beliefs, their traditions, their dialects, their culture and traditions4. Combined, these sets of variables make up a novelistic framework of heteroglossia. It is an aesthetic construction that Cornejo Polar would certainly see as appropriate to represent various bilingual and multilingual environments of the heterogeneous Peruvian Andes (Escribir 25).
Just as in
everyday life we find differences between: «the language and the world of prayer, the
language and world of song, the language and world of labor..., the
specific language and world of local authorities, the new language
and the world of the workers freshly immigrated to the
city»
, the novel represents a similar and complex
atmosphere (Bakhtin 296). This network of dialects entangles itself
in Redoble por
Rancas through a variety of speech cultures, such as that of
the priests, who tell their indigenous parishioners to rebel
against the local authorities; the insults of the semifeudal
landowners, who call the Indians «el cáncer que está
pudriendo al Perú»
(145); the voices
of the illiterate Indians, who have guarded their traditions by
means of their oral memory; and, finally, the voice of the literate
Indians, who can read and write but cannot let go of their
traditional and cultural beliefs. One way of representing this
state of heteroglossia in the novel is through «a hybrid construction, which contains within it
the trace of two or more discourses, either those of the narrator
and character(s), or of different characters»
(Morris
249). Instead of a plain amalgamation of voices, what we have is an
intentional debate between two languages that are forced to face
each other.
Scorza depicts
this dialogical engagement with allusions to several musical
fragments that, besides contributing to the oral quality of the
text, confront those who are obliged to stay away from the center
of society with their immediate oppressors, in a heteroglot zone.
Such process becomes palpable, for example, with the sudden
intrusion of the Peruvian vals «El
plebeyo» in the heat of an indigenous argument.
At once, the lyrics of this popular song from Lima circumscribe the
anguish of the Andean peasant who complains about his misery with
the language of his oppressor. Thanks to this intertextual link,
the attentive reader can take an «inferential
walk»5
or an imaginary excursion to hear the silenced voice of the Indian
who uses the words of his oppressors to assert: «Mi sangre, aunque plebeya, / también
tiñe de rojo /... / no es distinta la sangre / ni es otro el
corazón»6.
Likewise, the Peruvian National Anthem, a patriotic song that
pronounces the freedom of all Peruvians with the words
«Somos libres, seámoslo
siempre», is juxtaposed in the novel with the
voice of the Indian, who almost automatically denounces his
situation: «Mentira decimos
que somos libres. Somos esclavos»
(191). As
a result of this novelistic encounter of two divergent dialects,
the literary language of the novel breaks the socio-linguistic
barriers of these songs that are usually associated with the
circles of power, and the Indian dialect acquires a new tone. It
is, in Bakhtinian terms, «deformed and in
fact cease[s] to be that which had been simply as
dialect»
(Bakhtin 294). It is a language enriched by a
diversity of voices.
The intentional contact of different linguistic dialects in the novel produces the hybridization of literary discourse. Even though Redoble por Rancas is a neoindigenist novel, the language of the narrator is not indigenous. Most of the narrative voices use a limeño speech that belongs to the world of literacy, yet Scorza manages to turn up the volume of the voices of illiterate or semiliterate Indian characters with Spanish rather than Quechua lyrics. While these songs emphasize the orality of the indigenous world, it is valid to consider that the characters of this novel are empowered by dialogism to pass, in Bakhtinian fashion, from one language to another. This linguistic confluence is also apparent towards the end of the narrative, when the peasants finally use the written language of the educated in a complicated procedure that allows them to win a temporary victory against their oppressors. Guided by their oral mentality, on that occasion the peasants of Rancas use hundreds of pigs as their only weapons to infect the sheep pastures that the Cerro de Pasco Mining Corporation has taken away from them. Enveloped by a comic aura, the plan is sketched out on a black chalkboard by one of the village leaders, Cayetano, with a written language that draws on the Andean wisdom of the villagers to contaminate these fields.
Even though this
victory against imperialism does not last for too long, at least
the peasants corroborate that they have finally learned how to use
the language of their opponents to fight against the capitalist
forces based in the Peruvian capital and the United States. If an
illiterate person can live in a multi-language world, where he
prays to God in one language, sings songs in another, speaks to the
members of his family in a third and, when he needs to attract the
local authorities' attention, he uses a fourth language (Bakhtin
295), in Redoble por
Rancas the peasants also exploit a language deep-rooted in
the «world of the letter»
(Mignolo 30). Cornejo Polar attributes this conversion of various
languages within the Indian space to the growing intercommunication
between different sectors of the Peruvian society. It is a
phenomenon that mirrors the constant Andean migration to the coast,
as well as the expansion of the cultural influence from the cities
to the rural areas («Neoindigenismo» 550). This
socio-linguistic encounter, a clear indicator of what Jean Franco
calls the Decline and Fall of the Lettered City, where
«indigenous languages and cultures enter
into productive contact with lettered culture»
(10),
implies, nonetheless, the recognition of the Other as a
unique representative discourse of an individual's
consciousness.
Such process of
dialogism is understood in the context of every utterance, where
the most «serious» statement can become
«comical» (Bakhtin 340). This happens in Redoble por Rancas when
the ranqueños, stripped from their pastures,
find themselves debating for six hours if it is morally right to
let their sheep eat the flowers from the cemetery of Cerro de Pasco. With a blend of
humor, denunciation, and irony, the narrator indicates that
spending six hours debating this issue is not a waste of their
time, especially if we consider that «al comenzar la
conquista, los filósofos españoles debatieron no seis
horas sino sesenta años si los indios pertenecían o
no al género humano»
(197). Although
there is a clear confrontation between a) an authoritative
discourse and b) an internal persuasive one, the semantic structure
of the first one, representative of the official history of the
conquest of the New World, is not malleable or divisible: it has a
«single meaning, [and] the letter is
fully sufficient to the sense and calcifies it»
(Bakhtin
343). The novel's ideological discourse, on the other hand, is
internally persuasive because it opens up a wide range of possible
meanings.
Bakhtin suggests
that the novel turns persuasive discourse into speaking characters,
personalities that can be autonomous and, at the same time,
inter-connected voices due to a creative and artistic imagination.
Even when the task of establishing, transmitting, and interpreting
the words of others seems to chain one speech to another in an
incessant line of connections, «one's
discourse and one's own voice... will sooner or later begin to
liberate [itself] from the authority of the other's
discourse»
(Bakhtin 348). It would be a mistake, however,
to interpret this concept of dialogism as the representation of
total socio-linguistic freedom. Bakhtin perceives heteroglossia as
«the constituting condition for the
possibility of independent consciousness in that any attempt to
impose one unitary monologic discourse as the "Truth" is
relativized by its dialogic contact with another social
discourse»
(Morris 73). This assumption implies the
presence of a central force, a dialogic device that, in order to
keep the stability of verbal discourse, weaves diversified dialects
into a linguistic whole. It is a force that plays an important role
in the novel because it holds together many dialects that, by
themselves, would get lost in the narration. The voices of the
Andean peasants in Redoble por Rancas, for instance, would not be as
effective if they were not linked to the voices of their
oppressors.
What holds all the
divergent pieces of the novel into an artistic representation of
the Peruvian society is the implicit but controlling voice of the
narrator as the ultimate «higher
stylistic unity of the work»
(Bakhtin 262). This
commanding unity of style is different than the individual voices
that constitute the polyphonic make-up of Redoble por Rancas. In the specific
novelistic scenario that we are analyzing, the narrator lets us
hear a variety of otherwise silenced voices. At the beginning of
the novel, we are presented with the dialect of the Peruvian
peasants in the midst of their fight against the gamonales who take advantage
of their Andean idiosyncrasy. Later on, we hear the voice of the
Indian who sings a patriotic song that acquires new connotations in
the world of the subaltern. And, at the end of the novel, we can
distinguish the speech of the Indian still anchored to his
traditions and culture, who now realizes that his people are being
exterminated by imperialism, concluding: «No es Jesucristo
quien nos castiga, son los americanos»
(234). The unity of this novelistic structure, however, is not
maintained by an indigenous voice, nor by a language that truly
represents the voices from the world of literacy. A fictional
artifice manipulates the portrayal of the Andean culture. After
all, «El movimiento
indigenista no es la manifestación de un pensamiento
indígena sino una reflexión criolla y mestiza sobre
el indio»
(Favre 11).
The higher
stylistic unity of the novel is a phenomenon that occurs precisely
because each individual discourse is autonomous. The novel brings
them together to frame their peculiarities, to construct images of
languages. All of these images represent a view of the world and
specific social situations that braid incalculable connections with
other languages and social dialects. The higher stylistic unity,
therefore, is achieved by the artistry of the author who invents a
language to represent the colonized7.
It is a fictional creation that Mario Vargas Llosa recognizes as an
«habla inventada» in the
Indigenist texts of José María Arguedas (132).
Although Scorza does not distort the grammatical construction of
his Spanish narration with the inclusion of Quechua
expressions8,
he crafts a language with the texture of the Andean world. This
commanding voice that controls the development of ideas in the text
is not a transcription of any specific oral discourse but rather a
«semantic
fiction»
(Vargas Llosa 132). By aligning
the musicality of the Andes with oral proverbs and confronting
peripheral and central discourses, the letter and the word, as well
as the mentality of the Indians against the clasista culture of their
oppressors, Scorza constructs a voice that carries with it the
necessary variables to represent a group of colonized individuals.
Only then can we digest, according to Edward Said, «the pressures of such transpersonal, transhuman,
and transcultural forces as class, the unconscious, gender, race,
and structure»
(294). This is why the novel, as a genre,
retains in this new century its subversive powers to explore
various social conflicts in a hybrid and dialogic manner.
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- Booker, Keith M. A Practical Introduction to Literary Theory and Criticism. New York: Longman, 1996.
- Cornejo Polar, Antonio. Escribir en el aire: Ensayo sobre la heterogeneidad socio-cultural en las literaturas andinas. Lima: Editorial Horizonte, 1994.
- ——. «Sobre el "neoindigenismo" y las novelas de Manuel Scorza». Revista Iberoamericana 50.127 (1984): 549-57.
- Dorra, Raúl. Entre la voz y la letra. México: Plaza y Valdés and Benemérita Universidad Autónoma de Puebla, 1997.
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- Estrada, Oswaldo. «Problemática de la diglosia "neoindigenista" en Redoble por Rancas». Revista de Crítica Literaria Latinoamericana 55 (2002): 157-68.
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- Said, Edward W. Reflections on Exile and Other Essays. Cambridge, Massachusetts: Harvard UP, 2002.
- Scorza, Manuel. Redoble por Rancas. New York: Penguin Books, 1997.
- Vargas Llosa, Mario. La utopía arcaica. José María Arguedas y las ficciones del indigenismo. México: Fondo de Cultura Económica, 1996.
- Yep, Virginia. «El vals peruano». Latin American Music Review / Revista de Música Latinoamericana 14.2 (1993): 268-80.