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Lo que me parece importante notar en este texto es que tiene una mezcla de muchos géneros y propósitos. Al principio cuando el autor escribe en el presente es como si escribe sobre sus viajes y podemos sentir que está viviendo los momentos y hablando de experiencias suyas. Sin embargo, en la página 13, párrafo 4 siento que cuando cambia el tiempo de los verbos y menciona también que “se cuanta”, pone cierta distancia entre él mismo y lo que cuenta y tenemos informaciones que no nos dan la impresión de ser personal y directas del narrador. En este caso tienen una función didáctica sobre el país y la cultura, mientras antes parecía que una persona estaba compartiendo sus creencias y su cultura.
Lo que también me parece interesante es el hecho que el autor repite muchas veces la palabra “sueño” lo que podemos interpretar que da importancia a los sueños o a cualquier cosa o creencia aunque sea basada en algo que no es físicamente real, mientras sean cosas bonitas que tengan importancia para la persona que las vea o en que tiene creencia. Un ejemplo es en la pagina 17 dice “cuando la noble dama ve o sueña” y continua su historia como si el hecho de que no sabemos si eso era realidad o sueno no tiene ninguna importancia o ningún efecto en la historia. La obsesión de las culturas europeas o norte americana con la realidad física, en mi opinión, es muy diferente de lo que encontramos en estas leyendas porque la autenticidad no le importa al autor sino la belleza de la historia y de los detalles.
Una de las características más importantes de estas leyendas es el hecho que hay mucha descripción y muchas detalles como si el autor quería dibujar imágenes en la mente de los lectores para que sean capaces de ver y entender lo que trata de transmitir a ellos. A veces muchas detalles pueden ser la causa del aburrimiento para el lector, sin embargo esto no es verdad en estos leyendas porque el autor presenta sus descripciones de manera muy poetica lo que captura al lector y lo lleva a un viaje complicada, por la complejidad de la descripción, pero en el mismo tiempo es tan bonita que el lector se pierde en ella y se siento como si estaba realmente soñando.

My goodness, so much to read!

These legends are quite incredible in the sense that I felt as though I was sitting in circle, listening to them being told and passed on amongst people, but also gave me a sense of culture and language. The vocabulary being used is just so rich that reading it from a native-English perspective felt so insufficient – I feel as though I have lost so much meaning that has been hidden between the words.

For me, the Leyenda del Cadejo was the most interesting of them all. Some of the metaphors were straightforward (which I find much easier to understand) yet still incredibly descriptive, like “Reptó bajo sus pies como la sangre negra de un animal muerto..” (40). I quite enjoyed the ability to visualize the beginning of the story, with the sounds of the voices mixing with all of the smells, images and surroundings that were described – it was as though you could take part in and experience the legend, not just listen.

The things I noticed the most had to be the biblical references and repetitions of words. As in the Leyenda del Volcán, the repetition of “Nido” made me think that it was not just a name, but rather a cultural significance behind it was not being directly stated. I also noticed a bit of comparison between heaven and hell – in the Leyenda del Cadejo, the use of ‘infierno’ in conjunction with ‘los diablos’ seemed quite contradictory to be used after a minor description of a flower-covered cadaver and all the anguish associated with the loss of a life (however I could be insinuating more to this than there actually is). Another was the difference between dream and reality, and how they both mixed with each other in a situation. It was hard to differentiate between them, and I often wonder if (in legends) ‘sueño’ solely referred to the dream-state, as in daydreaming (that didn’t actually occur in reality), or to fictional/supernatural occurrences (that they believed occurred in reality). My favorite thing in all of these legends had to be the extraordinary use of peculiar adjectives. I don’t think I’ve ever had to look up so many words in my Spanish dictionary, but wow – well worth it!

After reading through these, I’m definitely interested in what we’re reading next!

para mí, las leyendas de Guatemala son como cuentos cortos y por eso son perfectas para leer porque son muy interesantes pero al mismo tiempo no son demasiado largos. la repetición también es un recurso retórico que captura mi atención y da importancia a lo que Asturias está contando. por ejemplo, en la “Leyenda del volcán,” las palabras “Los tres que venían en el viento” y “Los tres que venían en el agua” son repetidas muchas veces, mostrando la importancia de estos seis hombres.

aun el lenguaje que el autor usa es un poco difícil a entender a veces, su elección de palabras es muy hermosa y compleja. pienso que para realmente entender todo, un lector necesite leer las leyendas varias veces y “se bebe mas que se lee” cada palabra. traté de hacer exactamente esto cuando leí las leyendas por la primera vez.

cuando leí la carta de Valery estaba interesada en leer el libro. al comenzar leer las leyendas yo las encontré muy similar a algo que ya he leído. son muy similares a algunas partes del Popol Vuh. un componente que aparece en los dos libros es la naturaleza. a mi me gusta mucho la importancia que los indígenas dan a la tierra y como es una parte gigante de sus orígenes y su historia. la naturaleza es algo mas poderosa del hombre y yo encuentro este muy interesante porque en nuestra cultura el hombre es el rey de todo y mas poderosa que la naturaleza. pero en realidad no podemos controlar la naturaleza y por eso, la naturaleza tiene una esfuerza grande y incontrolable. los indígenas reconocen que la naturaleza es una entidad arriba de ellos y las leyendas muestran la importancia de cada elemento de la naturaleza, el agua, el fuego, etc. hay mucho detalle en cada mito.

mi cuento favorito es la leyenda del volcán. se lee mas como un poema con tanta repetición pero al mismo tiempo cuenta una historia. cuando leo cada palabra de esta leyenda me siento un poco abrumada porque las palabras son tan complejas y tan ricas pero también las palabras crean muchas imágenes claras en mi miente, casi como estoy en este mundo extraño.

leyendo los cuentos, es posible ver la relación intrincada entre los indígenas y su cultura. hay mucha pasión en cada palabra y cada mito y los elementos de realismo mágico son muy creativos

So up to this point, Leyendas de Guatemala has proven itself to be quite dense, but still engaging as long as you have a (lots of) cup(s) of coffee and some time to split up the reading. The language Asturias uses in “Guatemala” introduces a style that creates a strong mystical sense of people and places that are seemingly captured in a timeless sequence of events lacking obvious order. Rather than providing a clear framework for the novel, the reader is provided with little traces of a storyline and is challenged to make sense of endless imagery in order to fashion the text into one form.

In this way, Leyendas de Guatemala is unlike any novel or collection of stories that I have read before; I felt that I walked away with a strong impression created through many unlikely sensorial comparisons in the text that are almost impossible to explain completely without some sort of reiteration. Unlike the majority of novels that I’ve encountered, thus far Leyendas de Guatemala did not provide me with something as simple as a storyline as I was expecting to gather. Instead, Asturias seems to carefully present these legends on a completely different plane. I was surprised and confused with endless descriptions that so perfectly capture a wide range of sensations told by way of surely tangible images of nature that are strung together on the skeleton of legends. For this reason, I think to take on half of the novel at once is definitely a sensory overload, leaving little time to really appreciate and understand these images that make up the backbone of Leyendas de Guatemala.

One of the elements of the legends so far that really interests me is the relationship between the pre-colonial and post-colonial within the text. At first, I felt as if there was not a distinct sense of time in the early parts of “Guatemala” as Asturias describes the different cities and practices (note: if one has a deeper understanding and knowledge of Mayan culture it may be a different story, but I’m speaking from a perspective with a pretty basic understanding of the Mayas). Once Asturias begins to describe the arrival of the Spaniards (17) and the text begins describing colonial scenes (18-20), everything seems more familiar, until the beginning of the second paragraph on page twenty where the text fades back into the unfamiliar once again with the line, “El Cuco de los Sueños va hilando los cuentos.”

**The link to Leyendas de Guatemala wouldn’t open after I’d written the blog to look up correct page numbers, so my apologies if they are off by a page or two. I’ll fix it up once I can get into the link 🙂 **

Even before “los árboles hechizan la cuidad entera” (p. 12) in Leyenda de Guatemala, the reader has no doubt that these tales will incorporate the sense of magical realism which best describes nature when seen from the heart of a poetic author. Such descriptions as when the serpent “reptó bajo sus pies como la sangre negra de un animal muerto” (p. 40); or a forest of human trees, where “veían las piedras, hablaban las hojas [y] reían las aguas” (p. 24). This is the kind of ‘real magic’ that I love. How about the arresting image of the 6 men which comprise the wind and the water? And of course the men in the water “se alimentaban de estrellas como los peces” (p. 28)….I mean, why wouldn’t they?

My point is that these intriguing portrayals lend much more to the history of Guatemala than just fantasy; they give it mystery and appeal. Would a Guatemalan relate more to these tales than I did? Absolutely (I can say with little to no doubt)! However, there are common threads which run throughout these stories that connect a human race, and not just a country. Such as “el agua [que] está en todo” (p. 30), or the men of the wind and water who know that “todo es buena fruta” (p. 30) in the forest. Cheesy? Maybe. Verifiable truths? To a glass-half-full perspective: Yes. And as an ultimate test, the average reader, Guatemalan or not, needs to expand their well of experience upon reading about the central character ‘El Cuco de los Sueños’; the intrepid personality which “va hilando los cuentos” (p. 12). And this is where I would like to stay: in the massive wings of this ‘Cuco de Sueños’ as it weaves together lullabies of stories which reak of la naturaleza and realismo mágico.

To my disappointment, however, the legends ventured to the wrong side of the tracks when they began to include aspects of societal greed and religion. Okay, so I have to admit that my mood takes a downward spiral whenever Latin American authors pursue the messy subject of religion (to those who may be agitated by this comment, my disclaimer is that religion doesn’t sit well with me, but I think it’s fine if it sits well with you); but I must admit that religion has been a key-player in the development of Latin America, and, as these legends revolve somewhat chronologically around the maturing of Guatemala as a nation, it seems only right that Asturias should include a varied mix of catholicism and a kind of ‘mayan paganism’ within the legends.

But even in these ‘magical cities’, the Catholic church muscles its way into a position of authority as a line is drawn between “el sacerdote y la multitud” (p. 14). It seems that even as the conquistadors arrive, “el espíritu religioso entristece el paisaje” (p. 16); and the similarities are not unfounded when “se han podrido más de tres obispos y las ratas arrastran malos pensamientos” (p. 16). But then, Asturias speaks of the ‘trinidad’ being santa, flor (azucena) y niño. (p. 32) Metaphors of the traditional Father, Son, and holy ghost? Perhaps these Mayan legends have taken a biblical turn. Then there is Nido, who “en un día que duró muchos siglos” (p. 32) created a town with a temple. Okay, so it wasn’t the world and it wasn’t in seven days, but I’m sensing some more similarities here between the dominant Catholic church and the drowning Mayan legends. Although, with these ideas of magical realism, it feels more comfortable to relate these stories to Santa Clause, than to God. Or would God be in a state of magical realism as well? This creates a perfectly sound environment for the Church to be introduced into such pagan fables, just as it seems to have ‘introduced’ itself into many cultures of the world. Besides, every story needs a corrupt villain.

All in all, my feeling so far is that instead of reading these legends on my laptop in my room while listening to the rain dripping outside; I would rather be told these tales from una vieja, gray and weathered, as we sit under the stars and next to the ‘3 men of the water’ as they meander their way through the lush expanse of Guatemala. …..Does the Spanish department pay for field trips?

On another note, does anyone have any insight on the colours which are repeatedly mentioned in the legends (verde, rojo, blanco y negro)? Asturias mentions several references that these colors have (ie: organs, hair, spring storms, torpical ecstasy, promises of new lands, cruelty, etc…), but does anyone know of a central idea/image from which these color stem? Thanks!

Pura vida.

Esto es un cuento bastante representativo de la cultura Guatamalena.Se da ejemplos de la cultura mas viejo; una cultura que es representado en una forma mas surelisto, y es claro que partes del cuento son leyendas cuales han dicho entre generaciones del gente guatamalena. Asturias nos dice en la introducción que la cuenta es basada mas en un sueno de la realidad, y bastante obvio en pasajes como esto: “Existe la creencia de que los arboles respiran el aliento de las personas que habitan las ciudades enterradas, y por eso, costumbre legendaria y familiar, a su sombra se aconsejan los que tienen que resolver casos de conciencia . . . (pg 13-14). Esto es un ejemplo que mas claramente ejemplifica las ideas del suenos y leyendas como la base y fundacion de esta cuento. Asturias nos provide con un conceptualizacion de la identidad cultural de Guatemala mediante el uso de las creencias de los Guatemalenos, pero mas importantemente, el se abarca el estilo de los escritores del “Boom” para denunciar la dictadura en esta tiempo.El se usa el estilo de realismo magico para escribir una obra mas influencial cual pone mucho énfasis en los politicas del Guatemala, pero tambien se da al lector un sentido de la cultura y la vida en esta siglo.

Empezé a leer las Leyendas de Guatemala con atención: quería entender todo de esos cuentos. Me perdí a la mitad de la segunda página.. !Hay tanta descripción que es dificil no perderse!

Pasé un ratito en Guatemala este verano, no bastante para conocerlo bien, pero estaba más en Chiapas, México, donde conoce a muchos Guatemaltecos. Por que México toma una hora extra durante los veranos[1] y Guatemala no hace esto, el tiempo de Guate es una hora atrás de México. Entonces lo llaman el tiempo de México “tiempo nuevo”, y el tiempo de Guatemala, “tiempo viejo”.

El tiempo viejo, la antigüedad que Asturias mencione es integral en su visión de Guatemala hoy en día. “Como se cuenta en las historias que ahora nadie cree- ni las abuelas ni los niños- esta ciudad fue construida sobre ciudades enterradas en el centro de América” (Guatemala). Este tema aparece en mucha de la literatura latinoamericana[2], pero Asturias me parece más suelto con la distinción entre los tiempos, es más mezclada. Los otros cuentos que se he leído hay una distinción definitiva entre el pasado y el presente. Pero por sus cuentos aquí, Asturias vuela por esas distinciones.[3] Quizás por que en Guatemala no hay tanta distinción entre el cotidiano de hoy y las tradiciones y leyendas de ayer. Más que cuarenta por ciento de la población es indígena y me imagino que viven mucho como sus antepasados del “tiempo viejo”.

También refiere a los aspectos del día moderno. Por ejemplo en “Leyenda de Cadejo” la iglesia católica, representa por la monja, discrepa con un elemento fantástico antiguo, el cadejo. El conflicto es un conflicto relevante a los comunidades indígenas que los se convierte al catolicismo. Asturias tiene un perspectiva de América Latina se basa en los costumbres indígenas.

[1] Como daylight savings time.

[2] Me recuerdo el cuento de Fuentes, “Chac Mool” sobre un hombre que busca el dios de lluvia y luego se ahoga. Y también “La noche boca arriba” de Cortázar sobre un hombre que sueña que se sacrificado después un accidente en su moto.

[3] Or maybe it’s just my terrible Spanish. I feel like a fourth grader.

Overwhelmed. That’s probably the best word I can use to describe my experience reading the first half of Leyendas de Guatemala. Understanding the “core” of each legend wasn’t the issue so much as being able to fully appreciate the finer details in each of the stories. The breadth of Asturias’ linguistic abilities leads to texts that are linguistically dense in many respects. Due to the rich vocabulary Asturias uses, I found myself making a trade off between understanding the subtle details of the texts and understanding the stories as a whole. Initially, I was more largely in favor of reading in the former way rather than the latter. However, I was forced to abandon that method of reading in favor of understanding the stories as a whole to keep my sanity, and progress through the reading at an acceptable pace.

Although I was overwhelmed in the sense that the reading was challenging, I was also overwhelmed by richness of Asturias’ writing. As I was reading the legends, I felt like I was being transported to a foreign, exotic world. Asturias poetically describes the sights, sounds and smells of the environments that play host to his stories. “Y el olor acompañaba a las imagénes. El cielo olía a cielo, el niño a niño…” is a passage from Lyenda del Cadejo that is still lingering in my mind. I find this description peculiar and elegant at the same time. To me it was peculiar in the sense you can’t really describe what the sky smells like or a child for that matter, but on some level you know they have a smell, and how the smell. Therefore, it is in the simplicity of stating that “el cielo olía a cielo…” that the eloquence of Asturias’ writing is embodied. Upon reflecting, my experience as a whole reading Asturias’ leyendas is best compared to a mosaic of memorable little anecdotes such as the one above. My memory of the leyendas is studded with moments of pure sensory pleasure and fantasy.

Regretfully, I feel as though my experience thus far is incomplete as the limits of my vocabulary comprehension has hindered my ability to fully extract all of the beauty contained in Asturias’ pages. You definitely need to take the time to smell the roses with Asturias.

Leyendas de Guatemala was an interesting and fun read for me, and it immediately brought back memories of reading story tales during my childhood…Despite the lengthy list of vocabulary that I had to look up or skip over to get through this text, I thought that it was very well written and full of vivid descriptions that I could easily depict in my mind.

This first thought came about from the author’s playful style of writing – with his impeccable attention to detail and description, the sense of magic and fantasy was evident throughout all the legends and it immediately reminded me of those same fantasy and day-dream like thoughts that children so often gets lost in. I loved the imagery he used to describe the natural environment around the volcano, mentioning everything from the leaves on the trees, to the abundance of creatures that crawled that very piece of land such as the always colour- changing chameleon. The repetition of words or phrases such as “noche delirante” in Ahora que me acuerdo is an example of this as well, in which the author seems to be emphasizing this image in the reader’s mind…

Leyenda de Tatuana seems to have a greater sense of myth and fantasy compared with the others, and was probably my favourite. The first part of this legend states that there are twenty months in this four hundred day year, which immediately (in my opinion) gives it ‘story tale status’ if you will… Also, in Leyenda del Volcán, I like the fact that Asturias uses the word “nest,” (nido) to call the volcano, which gives a more familiar and responsive qualities to such a large, and potentially dangerous earth form. I have to agree with points mentioned in the short letter by Paul Valéry at the beginning of the book, in the way that the ideas brought forward in Leyendas de Guatemala is comparable to a ‘tropical dream’ because often, you find yourself lost in this magical world that seems too fun and absurd to be reality! I think that the compilation of legends is a balance (at times not equal) or myth and reality that teach the reader about the Mayan traditions while holding on the playful tone throughout.

Anyways, those were just my initial impressions about the homework…now to study more Spanish vocabulary so it doesn’t take me hours to do the readings! :/