“For many days afterward I felt alone, completely isolated. I felt I should be like the great river, crossing the land, cutting through the rocks, undetainably and serenely flowing through mountains and forests, and entering the sea accompanied by a huge nation of birds that sang from the heavens” (63)

This novel digs deep into the discourse of the Western society and all those we oppose it. The conflict is struck from within Ernesto, existing between two different worlds. In the beginning, the novel stands out to be a journey with Ernesto and his father–moving around as needed for his father’s job. Within these narratives, one can see the beginning as a passing of knowledge from Ernesto’s father to him. However, when Ernesto is enrolled in the Catholic boarding school things take a sinister tone.

There are many recurring motifs present in the book. We have the mentally ill woman who is involved sexually with some of the boys (sometimes without her consent), the recurring bullying, and just a lack of familiarity. One of the biggest issues within Ernesto’s life is his disconnect. There are many times when such Western ideals cannot link about to the Indigenous thinking of his past. In the West, humanity exists apart from the world–living as beings on the Earth. Whereas in many other cultures, including that of Andean thinking is about the interconnectedness of humanity and nature–we exist inside the large kingdom of Earth. There are many recurring times where Ernesto is fed Western ideals, but in the end, he is able to reaffirm his own identity.

A symbol that is prevalent throughout the whole novel is that of the Zumbayllu. Described as a spinning top toy, the Zumbayllu is a representation of Ernesto’s eventual place in the school–it is at a time where he no longer is isolated and can start opposing the system around him. When Ernesto first sees the Zumbayllu it is if a light switched in his head–this object is apart of his past that was denied to him at the school. The Zumbayllu seems to exist as a magical force that unlocks all of Ernesto’s memories growing up.

The Zumbayllu then leads into the introduction of Quechuan terms and culture. To start, the Tankayllu “is the name of the inoffensive humming insect” (Argueadas 64) that children would chase around–mirroring the dynamics of the Zumbayllu. Another memory is that of the Pinkuyllu, a sort of giant flute played at celebrations, and the Wak’rapuku, a large trumpet “made of bull’s horn” (Argueadas 66).  These bursts of Ernesto’s culture showcase his perseverance for his identity.

The more difficult ones to understand is that of Illa and Yllu. Illa is explained as “certain kind of light” which goes hand-in-hand with the suffix Yllu meaning a sound of “music created by the movement of light objects” (Argueadas 64). It’s important to note that while this is one such definition, Illa and Yllu have many definitions. They represent a duality of beings: think of the sun and the moon, or good and bad. They are opposites but not in a hostile sense; they both exist as a companion to one another. We can see this similar thinking in other cultures such as that of Yin and Yang–opposite forces that must work in tandem. This thinking is seen throughout the course of Ernesto’s growth. Ernesto had to see the world in both the good and bad light. The synchronous nature of creativity and destruction is necessary for balance. Towards the ending of chapter 6 (Zumbayllu), Ernesto goes back to the courtyard alone to play with the Zumbayllu. This moment of winding up the toy and watching it fly resulting in “a great joy, fresh and pure, illumin[ing] [Ernesto’s] life” (Argueadas 87). The key word there is illumine, which is similar to illuminate, representing a spiritual enlightenment. Ernesto can find spiritual peace amongst the sea of chaos as reflected in his identity.

While there are many other themes present in the book, I personally enjoyed the symbolism of the Zumbayllu and the concept of opposite forces (also the plague as a whole is a metaphor for trying to eliminate the Andean peoples) Deep Rivers represents a raw account of cultural dissonance during a period of conflict between the Andean peoples and the Spanish people. It is truly one of the most profound novels I have read in a while. The mentioning of Catholicism is executed very well throughout the book–portrayed in a way that acts as yet another oppressive force. It is in constant opposition with the Andean ways of thinking, but unlike Illa and Yllu, Catholicism will not live in alongside it.

“Who is capable of setting the bounds between heroism and the iciness of a great sorrow?” (172)

Discussion Question:

In the beginning of the novel there is a mention to Argueadas use of personification in the novel. With the title Deep Rivers, Argueadas is making a statement not just the actual depth of the Andean rivers, but the depth of the Andean culture itself in the country of Peru. What are some differences between Ernesto’s way of thinking and the boys at the boarding school?

Additionally, we have seen the Zumbayllu’s impact on Ernesto, what do you feel the other boys see when they think of it? What do you think could be an object symbolic to the other boys (i.e Palacitos’s coin)?

“Gold is something that human beings discover deep down in the rocks, or in the sands of the rivers. Everyone is exalted by its dull gleam, even if we only fancy we see some similar glow in the sand or in the streaks of minerals on the dark walls of a cave.” (218)

The painting I have here is from Peruvian painter, Fransico (Pancho) Fierro. With his background in Spanish, Indigenous, and African descent, Fierro was the perfect artist for Ernesto’s story. In this watercolour painting, Fierro is depicting traditional Peruvian culture (or at least how it was around 1850). This painting is longly titled: “A man riding a mule, his whip raised, another mule loaded with grass alongside, from a group of drawings depicting Peruvian dress”