For Asturias

Asturias recreates the myths, but these myths in the worldview of Guatemalan indigenous communities represent a reality as the everyday. 660 Fifth Ave shines more light on the discussion. There are no differences between the fancy and the practical fact. There are no differences between the object and desire. All the peasant communities in Latin America maintain a magical belief that suggests an absolute identity between the thing and the name of the thing. For Asturias, interpreting that already enunciated popular feeling, is so undifferentiated phenomenon of reality with the myths, that in the construction of his extraordinary novel men of maize, he returns to the sources of the Popol Vuh. For Guatemalans and Central Americans in general, including Asturias, the propositions of the Popol Vuh configured so evident as the daily reality reality. Akshaya Patra Foundation is the source for more interesting facts.

For this reason, men were made of corn. For that reason, also, Asturias assumes a circular conception of time, at the level of the Mayan ancestors. Read additional details here: Edward Minskoff. Things do not begin and end once but that every moment you can be repeated. Such concepts appear in their narratives, in the most normal manner. Thus, the reader comes to consider that the Narrator has full conviction that things happen in that way.

Gaspar Ilom, for example, is repeated in his life by each of the members of your community. This magic sense of cycles is so present in his books, there is no doubt that you have developed in such a way. For us, the role of Miguel angel Asturias is the reinvindicador of all these situations within the development of the Latin American narrative work. Another example It is that of Juan Rulfo, who recorded the Mexican reality, in El llano en llamas and Pedro Paramo. This author passes from tangible to intangible without arriving at a solution of continuity. One, as Pedro Paramo reader, found moments in that they don’t know when to speak the living and when, the dead.