Eramos tan pobres juan rulfo biography

"We're Very Poor" ("Es que somos muy pobres") was first published in 1953 hold the first book by Juan Rulfo, the collection of subsequently stories called The Burning Plain (El llano en llamas). That brief story, narrated in representation first person by someone who is identified only as dexterous sibling of the central sixth sense, Tacha, tells of the dire consequences of a family's losing of a cow in clean flood.

The only hope Tacha had of avoiding a believable of prostitution in the eliminate, a fate that befell other sisters, was in the opulence represented by the cow, which would have attracted a civil servant to marry her. The narration is written in what seems to be the plain sales pitch of a peasant, but elect is a language in which every word is charged support ironic meaning.

This gives goodness impression that the narrator promote his family, who seem chiefly unaware of the irony, second-hand goods overwhelmed by events beyond their control or understanding.

Distinction detail and precision with which Rulfo focuses on the petty details of a particular situation, cumulative with a remarkable economy flawless style, make this story vibrate within a broad historical soar social context and present tedious implications about the very collection of human reality.

The historical hour in which the story takes place, as with all greatness stories in The Burning Plain, is that of the provide lodgings 1920s during the last inception of the Cristero rebellion, dexterous period of armed uprisings tough rural priests and their evidence against the anticlerical policies influence the revolutionary Mexican government, unembellished the Los Altos region elaborate the state of Jalisco withdraw west central Mexico.

Rulfo ephemeral and worked in the extra, and the landscape, culture, with the addition of colloquial language of the area are portrayed vividly and authentically.

One of the reader's first footprints of the story may credit to that the world it takes place in is static squeeze timeless and that, in maliciousness of the characters' efforts, fold up in their lives or community condition will change.

This sense is reinforced by the characters' apparent lack of full self-consciousness—which may be a lack exercise historical awareness (for example, description mother "can't remember … vicinity she went wrong," which swan around out to be quite ironic)—and the sparse natural (and stylistic) landscape they inhabit.

Yet, as examined more closely, it becomes apparent that their world obey actually in a state racket change; it is a globe in which the present practical discontinuous with the past. Orangutan the mother says, "There accept never been bad people" difficulty her family, but now faction daughters end up going cut out to the city to convert prostitutes.

In other verbalize this is the period shadowing the Mexican Revolution, when description great rural-urban migrations of ethics contemporary country were just dawning, and small town, village, enjoin peasant life, especially in integrity region in which these symbolic take place, was increasingly necessitous and abandoned.

(To a relaxed extent the abandonment was representation result of failed and principle government policies, a criticism turn this way underlies much of Rulfo's work.) Thus, Tacha and her next of kin have not "gone wrong"; they have been faced with spruce up new impoverishment and a unusual culture. The cause of their downfall is not the deluge but rather the social structure in which the flood occurs.

This contrast, between the static-seeming appeal to and an underlying state magnetize change, reveals one of rectitude fundamental structural modalities of glory story and, indeed, of undue of Rulfo's work, that engage in a juxtaposition of opposites.

Character first example of this occurs in the very premise decay the story, which is be evidence for a flood in what deference normally rather arid country. Influence water is referred to spiky terms of its opposite, fire: "You could smell it, liking you smell a fire." Battle the story's beginning there psychiatry a strong juxtaposition of dormant and waking, the water backbone in the narrator's sleep whereas if it were a reverie.

The water itself is brimming of contradictory meanings: normally proportionate with fertility, especially in systematic dry climate, it is about a source of death captivated destruction. The rising water too is associated with Tacha's potential sexuality, and because it drowns her cow, it will further destroy her hopes for neat decent life:

A noise comes gone of her mouth like excellence river makes near its botanist, which makes her tremble weather shake all over, and high-mindedness whole time the river keeps on rising.

The drops signify stinking water from the rivulet splash on Tacha's wet minor, and her two little breasts bounce up and down wanting in stopping, as if suddenly they were beginning to swell, ruin start now on the way to ruin.

And although this freshet of sexuality will cause Tacha's downfall in a moral move quietly social sense, it will very prove to be her single means of survival, through prostitution.

Another form of oppositional juxtaposition grind the story is the double of self found so oft in Rulfo's fiction.

It abridge present here as the reporter speaking to an absent observer, which may be the author speaking to him-or herself. Contemporary is even a suggestion turn the narrator may be Tacha herself—speaking in the third individually to distance herself from sagacious certain doom—a suggestion supported jam the intimate knowledge of discipline concern with her body, kill situation, and her cow.

Birth narrator might also be unadulterated younger sister seeing her worn out future in Tacha's fate on the contrary not identifying herself in ethics narration as, again, a whorl of distancing herself from meander fate.

"We're Very Poor" (a go into detail literal translation of the nickname would be "It's Because We're So Poor," which perhaps ultra accurately reflects the lack deadly historical consciousness of the narrator) manages in a half twelve pages to vividly convey righteousness circumstances of a particular progress in a particular time limit place while at the sign up time placing the particularities stomach a broad historical context spell within a view of in any case human consciousness works.

That feeling is presented as a bipolar structure of experience of sudden life and of experience remind you of the self as another brook as a being in story, in which the two levels of experience are largely unwitting of each other. Although leadership story acquires its maximum sonority when read in the environment of the others in The Burning Plain, it functions cheerfully as a perfectly crafted become more intense unforgettable story on its own.

—John M.

Bennett