By LLOYD KING
The struggle for independence in the Spanish American countries had a character which set these countries and people with a quite different experience from anything we have gone through in the Caribbean. Two aspects will be noted here: a) there was a desire to get away from the Hispanic self and b) to develop a self which was shaped by French Enlightenment ideas, and this specifically included a hostility to the Catholic religion and, it might be said, to religion in general. This sets up a profound conflictual pattern in Spanish American intellectual and political life which has lasted to our day.
Those who believe that the Cuban revolutionary elite’s attitude to religion was simply a function of Marxist indoctrination are quite mistaken. It was also part of an ongoing contest with religiosity which goes right back to the independence struggle. For the elite, for Simon Bolivar, as Garcia Marquez seeks to show in his novel on Bolivar, the vicissitudes which beset the post-independence period in Spanish America were generated by the resistance to this attempt to shape new selves and polities animated by the ideas flowing out of the French Revolution and the Enlightenment. Therefore there was a lot of translation, manifested for example in the wording of constitutions, and in the belief, sometimes taken to the extreme, that essential issues of governance would be solved if the right constitution was formulated. Bolivia produced 33.
How unfortunate this swallowing of French ideas could be is illustrated by the career of the Mexican Benito Juarez, famed as the leader who drove the French out of Mexico. He was a pure-blooded Mexican Indian who had first studied at a seminary to become a priest, one way to escape a peasant life of poverty in the latin countries, but broke away to embrace politics and also French Positivism. As President of Mexico he then proceeded to implement land reform according to the positivist model which stressed the individual and individual ownership of land. But the indigenous people of Mexico had traditionally believed in and practised communal ownership of their lands. The result was disastrous for them. Not knowing the rules of this modernizing game, they were systematically robbed of their land and patrimony, because one of their own had taken over ideas which were ill-adapted to their real conditions. In Argentina, Domingo Sarmiento took over the Eurocentric division of humanity under the heading of civilization and barbarism. For Sarmiento, the best way to achieve Civilization, French style, was by way of genocide, particularly as he was aware of the very same solution in the United States. Thus the Spanish American faced many challenges after independence and in their early post-colonial situation relied on translation and plagiarism in order to achieve their imagined communities.
What was true in the sphere of politics was true for poetry as well. What is considered the first serious breakthrough in poetry took place late in the nineteenth century and carries the name Modernismo which is not to be confused with the modernism of the wider Western tradition. No West Indian student can easily understand why Ruben Dario, who initiated the new style of writing, is so revered. The poems of his which first amazed his contemporaries celebrated princesses and swans and Greek satyrs and were on the face of it nothing but translations of stuff being written by poets in France known as Parnassians. The content of Dario’s verse by and large had little to do with his environment; however, he brought back life to Spanish verse forms and instilled a music in verse which had been lost in Spain. It was Dario whose verse revitalized modern Spanish poetry but, with a few exceptions, not because of its content. In fact, one of the puzzling features of some Latin American verse is a peculiar dissociation from immediate context.
This brings me to a writer whose stories have attracted a lot of attention but who is little known in the Caribbean, Jorge Luis Borges. It was always easy to be hostile to the man; he was ultra-conservative to the bone, actually declaring an admiration for Pinochet. At the same time, he raised all sorts of fascinating intellectual issues, not least on the question of historical plagiarism. The particular story in which he does this explicitly is called Pierre Menard, author of the Quixote. In this incredible story, a French narrator reveals that his friend Pierre Menard had managed to rewrite not quite three chapters of the novel Cervantes had composed 320 years earlier. What could that possibly mean? Basically the argument, now become a commonplace, is that Time changes the meaning of all texts. All the references, however, are relevant to the view that with the passage of Time readers inevitably change the meaning of earlier texts, for what comes between author and text are all the changes in ideological perspective which time brings. Thus Cervantes wrote that history is the mother of truth. But when Menard wrote the same words he could not possibly mean the same thing.
For us now historical truth is always shaped by ideology. Similarly For Cervantes to exalt arms and therefore warfare over letters (read artistic production) was to quote a commonplace of his time; for Menard it is to take a position against intellectual pacifists such as Julian Benda or Bertrand Russell.. This is, of course, a reversal of the well known rejection of anachronistic readings; in fact it is a view that anachronism is inevitable. Consider the implications. The books of the Bible cannot mean the same to the most convinced believer as they would have done to their authors, not to speak of the point that is made by the fact that Menard is French and writing in French. No translation ever gives you the original intact. And the King James version was a translation of a translation of a translation. Which is the general point. As offshoots of the western tradition, we have had no option but to be plagiarists and translators. Our laws are copies of British laws, modified as necessary by copying from other Commonwealth countries, our military took over regimental colors from British units who have actually fought in wars, suits are still required in parliament so much so that a then PNM minister expressed outrage at a member of the Opposition wearing a Nehru jacket. In spite of the occasional talk about mimic men, plagiarism is our lot. It is, I guess why we hold on to our imagined peasantry and African and Indian roots. Before we shout plagiarism as a form of condemnation, we need to look into the extent we are condemned to borrow and the extent we are involved in anachronistic interpretations and distortions. I leave that to younger heads.
BORGES AND SIR WILSON
The writing of Borges preceded that of Sir Wilson Harris but I doubt there is a direct link between them. I will mention an obvious one. In one or two Borges stories a character about to die re-imagines a crucial moment in his life in order to transform it, sort of like the crew in Palace of the Peacock. The differences are two-fold. Borges writes short stories that make Harris’s short novels seem long. Secondly, Borges always sought to write with what he called lucid perplexity, and even Harris’s devoted readers stress his difficult perplexity. Nevertheless what seems to link them is their interest in a form of idealism, indicated in the stories referred to, that is to say that reality is subject to the imagination, the aesthetic imagination, which the Romantics were given to writing with a capital I. Part of this view is that reality as we know it is inferior. But again there is a profound difference in approach. Borges found the world and reality oppressive. There is his famous statement: “The world, unfortunately, is real. I, unfortunately, am Borges.”
This, I suspect, is not the kind of statement Sir Wilson would make. He is in the more optimistic West Indian tradition. He is committed to a sense of the spirituality of the real that is beyond historical fact, a mystical imaginative turn which has attracted some readers to Sir Wilson’s work. His view seems to be that History is inferior to the transcendent rescuing imagination of the artist. This again points up a difference to, not only Borges, but Latin American writers. The Latin American tradition has a relatively long history of religious skepticism, and a distrust of the mystical, which interestingly in modern times has led to a fascination with the otherness of experience. Thus you get the forms of writing known as magic realism and fantastic literature. Sir Wilson’s writing may look similar to, but is different in orientation from that of writers like Carpentier, Cortazar and Borges.
A tribute to Sir Wilson
….with some plagiarizing
The Guyanese poet Fred D’Aguiar recalls a day when he was walking with (the not yet Sir) Wilson Harris alongside a trench in Georgetown. Now Trini readers need to understand that what Guyanese call a trench might be the size of our Caroni River. As they walked Harris remembered a younger self walking with a friend along the selfsame trench and he pushed his friend into the trench. (Maybe they were attracted to the same young lady, who knows) In any case Harris still felt guilty about what he did as the trench was full of water. It was now empty. Now I go on to what D’Aguiar did not see, since he lacked the second sight with which I am gifted as mage and maggot. He therefore did not see the ghost of memory swoop down and with Harrisian hands also push him D’Aguiar or his double into the trench in a quantum way such that he was at once alive and dead, somewhat like Schrodinger’s cat in the box. For now D’Aguiar’s body wore the head of Wilson Harris’s boyhood friend who dusted off his clothes and started to climb up the slippery slope of the waterfall of transcendence. Waterfalls of transcendence are the easiest things to find in Guyana since they have about 365 rivers. Ask any Guyanese.













