Apocalyptic visions in contemporary mexican science fiction
2012; CIESPAL; Volume: 41; Issue: 2 Linguagem: Inglês
ISSN
2327-4247
Autores Tópico(s)Latin American Literature Studies
ResumoThe concept of in West has its origins in Judeo-Christian mythology according to which fallen and imperfect world we live in will be destroyed in order to make way for more perfect realm of existence for true believers in God, as described in Revelation, last book in Bible. Lois Parkinson Zamora reminds us that ever since early days of Christianity artists have been fascinated by apocalypse, and she adds that in later Middle Ages significant body of literary and artistic works were inspired by John's apocalyptic visions in Revelation (1). Our modern world, in spite of its faith in scientific certainty, is not excepted from imagining end-of-the-world scenarios, as can be evidenced by steady Hollywood production of apocalyptic scenarios involving asteroids, extraterrestrials, climactic changes, etc. However, far from its hopeful historical and religious origins, in modern coinage apocalypse denotes very real possibility of sudden demise of everyone regardless of our religious orientation. (1) David Dowling notes that the language of Biblical apocalypse has been transferred effortlessly and wholesale to description of late twentieth century angst (115). Apocalypse may flash its face in moments of national provoked by strained international relations or sudden natural disaster, such as terrorist attacks of September 11, 2001 and tremendous triple threat of earthquake, tsunami and nuclear meltdown in Japan in 2011. The theme of apocalypse has been creatively explored in art and literature, and fiction (sf) is no exception. Robert Scholes' succinct definition of sf is rather complete: a fictional exploration of situations made perceptible by implications of recent science and its impact upon people who must live with those revelations or developments (55). Applied science, or technology, in this type of fiction may be human or extra-terrestrial in origin (Atais 11). David Ketterer adds that sf is response to abruptly changing social conditions [...] it is an outgrowth and an expression of crisis (154-55), Ketterer's observation makes sense when we remember that sf emerged as creative and critical pushback against rapid transformation of European societies during Industrial Revolution in nineteenth century, and so, from its beginnings, an innate leitmotiv in sf is apocalypse, whether initiated by activity or extraterrestrial beings and forces. While in H.G. Wells' War of Worlds (1898) civilizations are brought to brink of extinction by Martians, in Nevil Shute's On Beach (1957) civilization is annihilated by man-made nuclear weapons. In this study, however, I will analyze descriptions of apocalypse in contemporary Mexican fiction as represented by four stories and one novel: Llamaradas para fechas vacias (1973) by Paco Ignacio Taibo II, Arbol de la vida (1981) by Edmundo Dominguez Aragones, El que llego hasta el metro Pino Suarez (1986) by Arturo Cesar Rojas, Prediccion cumplida (1988) by Federico Schaffler and La destruccion de rodas las cosas (1992) by Hugo Hiriart. Now, production of sf in Mexico was not given serious critical attention by scholars until fairly recently, so it may surprise some to find out that Mexican sf actually harks back to eighteenth century to Friar Manuel Antonio de Rivas's short story Sizgias y cuadraturas lunares (ca. 1775). (2) In this story author employs now classic fiction trope--space travel: man makes it to moon on flying machine he has invented, displays his scientific knowledge to moon's inhabitants and circles moon before returning to earth. What may strike us as curious tale from colonial times in Mexico is, in fact, veiled critique of anti-scientific and religiously conservative Spanish regime of time. (3) Regarding Rivas's story Gabriel Trujillo Munoz, prominent scholar of Mexican fiction, states: Asi es posible ver que, en Mexico, la ciencia ficcion comienza como una aventura del pensamiento en libertad [. …
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