Deep Rivers

José María Arguedas is one of the few Latin American authors who loved and described his natural surroundings, and he ranks among the greatest writers of any time and place. He saw the beauty of the Peruvian landscape, as well as the grimness of social conditions in the Andes, through the eyes of the Indians who are a part of it. Ernesto, the narrator of Deep Rivers, is a child with origins in two worlds. The son of a wandering country lawyer, he is brought up by Indian servants until he enters a Catholic boarding school at age 14. In this urban Spanish environment he is a misfit and a loner. The conflict of the Indian and the Spanish cultures is acted out within him as it was in the life of Arguedas. For the boy Ernesto, salvation is his world of dreams and memories. While Arguedas' poetry was published in Quechua, he invented a language for his novels in which he used native syntax with Spanish vocabulary. This makes translation into other languages extremely difficult, and Frances Horning Barraclough has done a masterful job, winning the 1978 Translation Center Award from Columbia University for her efforts.

If you are looking for an excellent translation of Jose Maria Arguedas, "Los Rios Profundos" this is it. The book retains the integrity of the origianl Spanish, and the spirit of the quechuan explanations which are left in quechuan. With a brief introduction by the translator as well as a glossary of terms at the end this English translation has made Arguedas masterful novel available to the English speaking world.

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This subject line is not to diminish the power of this work. Only to convey that, unlike many other "coming-of-age" stories of a youth, Arguedas' semi-autobiographical tale presents a boy already formed even before the events of the bulk of the narrative. A pantheism rushes over his pages, and the Catholicism in whose school he is domiciled for most of the story remains more of a veneer over a pagan and defiant Quechua world refusing to succumb under the oppressive colonial and clerical regimes. The set-pieces of the book, the uprising of the peasant women for salt and waiting in the town as the plague approaches, gain force when (as Vargas Llosa notes in his afterword) placed within a calmer flow of words, at times scraped by harsh reality.

The descriptions of the natural world remain moving; however, many of the supporting characters at the youth's boarding school and the girl he courts (from afar it seems more than close up) stay rather diffused and vague. Nearly no details emerge, for example, of the actual schooling he receives, but plenty of cringeworthy accounts of how Rector Linares attempts to manipulate the Gospels to placate insurrectionists. A message, I gather, that subsequent generations in Latin America learned from. The prescience of this work, given the later events in Perú, makes Arguedas all the more compelling a contribution, that even in English (thanks to the abundant Quechua blended in), makes for a bracingly vivid read, with hints of what would become "magic realism" mixed with muted political critique and personal quests for identity for a boy caught between cultures.

This is a gem of a book. While there are many things to like about it, I am most enamoured of the richness of detail in its naturalistic description. Arguedas, with his Indian upbringing, has a perceptiveness toward nature not often found in modern, Western society. The translation conveys this beautifully, though I've heard that the original Spanish is even more vivid in its descriptions. The characterization is multi-layered: there's even someone highly reminiscent of the Grand Inquisitor in Dostoyevsky's "The Brothers Karamazov"...

Non-western thoughts, beliefs and fears still permeate 20th.century Peru, a cultural heritage of the Inca empire. Arguedas, although white, learned Quechua as an infant, forced by circumstances to spend long periods with Peruvians of indian extraction, an experience which he would forever remember with deep tenderness and affection, and which would transmit surviving elements of Inca thought as well. The problem Arguedas faced as a writer was how to express a non-western state of mind in Spanish, a western language. In "Deep Rivers", he sometimes shifts the structures of sentences, or uses diminutives, to mimic Quechua. Stones can talk, and rivers sing. Big black flies are attracted to persons who are about to die. For Inca thought, the reflections from a pool of blood relate to the reflections from rapids in a stormy river. In "Deep Rivers" Arguedas shares with us the deep undercurrents and contradictions which flow beneath the surface of modern-day Peru. Conflicting cultures related through cruelty and despotism. Deep rivers flow in every culture. Not the superficial, visible elements of a culture, but those intimate fears, obsessions, and dreams which lie at the core of its members.