Donoso and Social Commitment: Casa de campo
1983; Liverpool University Press; Volume: 60; Issue: 4 Linguagem: Inglês
10.1080/1475382832000360319
ISSN1469-3550
Autores Tópico(s)Spanish Culture and Identity
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: CASA DE CAMPO [J. DONOSO]DONOSO, JOSÉ (1924–1996)SOCIETY/SOCIAL CONDITIONS/SOCIAL HISTORY [AS LITERARY/CULTURAL THEME] Notes 1. This sentence formed part of the answer to a question about Donoso's current project put by Cedomil Goić during the 17th Congress of the Instituto Internacional de Literatura Iberoamericana which took place in Philadelphia between August 24 and August 29 1975. See R. Luis Díaz Márquez, ‘Conversando con José Donoso’, Horizontes, XIX, 37 (1975), 5–12. 2. ‘Entrevista a propósito de El obsceno pájaro de la noche’, Libre, I (1971), 73–76. 3. Barcelona: Seix Barral, 1973. Donoso first went to Spain in 1967. 4. Barcelona: Seix Barral, 1970. 5. John J. Hassett, ‘The Obscure Bird of Night’, Review 73 (Fall 1973), 27–30. 6. Hassett, 27. 7. Gerona: Ediciones Aubí, 1972. 8. Vidal, 35. Vidal is referring to the narration of El lugar sin límites (Mexico City: Joaquín Mortiz, 1966). 9. See, for example, Guillermo Carnero, ‘Una interpretación de José Donoso. Surrealismo y rebelión de los instintos de Hernán Vidal’, Cuadernos Hispanoamericanos, 295 (1975), 227–29. 10. Díaz Márquez, ‘Conversando con José Donoso’, 6. 11. Díaz Márquez, 8. 12. Prologue to Juan Carlos Onetti, El astillero (Barcelona: Salvat, 1970). 13. Jorge Campos, ‘ “Casa de campo” de José Donoso’, Ínsula, 389 (1979), 11. 14. Norman Shrapnel, ‘Overgrown Fictional Gardens’, The Guardian, February 21, 1974. The second phrase is quoted in Isis Quinteros, José Donoso: una insurrección contra la realidad (Madrid: Hispanova de Ediciones, 1978), 71. 15. Casa de campo (Barcelona: Seix Barral, 1978), 69. All page numbers refer to this edition. 16. New York: Oxford U.P., 1979. 17. Arens, 19. 18. Hans Staden: The True Story of His Captivity 1557, trans. Malcolm Letts (New York: Robert M. McBride and Co., 1929). 19. ‘The Chronicle of the Anonymous Conquistador’, The Conquistadors ed. Patricia de Fuentes (New York: The Orion Press, 1963), 165–81. Quotation from Arens, 61. 20. Arens, 51. 21. The title of Donoso's 1970 novel was taken from a letter written by Henry James senior to his sons Henry and William. 22. Jorge Campos, loc. cit., takes it for granted that the author is exclusively concerned with Chile; he describes as ‘transparente y fácil de identificar’ the change-over, the attempt at a new regime, the intervention of the army, repression ‘y hasta figuras históricas conocidas de todos’. Donald L. Shaw, in his Nueva narrativa hispanoamericana (Madrid: Cátedra, 1981) refers to ‘evidentes referencias a la historia reciente de Chile’, and then to the ‘artificiosa belle époque’ of the temporal setting ‘que simboliza el anacrónico sistema social chileno durante la juventud de Donoso’ (152). See, too, Luis Iñigo Madrigal, ‘Alegoría, historia, novela (a propósito de Casa de campo, de José Donoso)’, Hispamérica, IX, nos. 25–26 (1980), 5–31, who has noted references in the novel to real-life characters from Víctor Jara to Pinochet. 23. Donoso writes about his attitude to the Cuban Revolution, the ‘caso Padilla’ and the feelings of other Latin American authors in his Historia personal del ‘boom’ (Barcelona: Anagrama 1972), 57–58 and 115–17. 24. Arens, 184. 25. Cf. Fidel Castro's famous: ‘Condenadme, no importa, la historia me absolverá’. This was the sentence that ended his speech at his trial on October 16 1953 after the assault on the Moncada Barracks in Santiago de Cuba. The speech contained the programme he hoped to put into practice in Cuba. 26. See Jesús Silva Herzog, Breve historia de la Revolución Mexicana (Mexico City: Fondo de Cultura Económica, 1960), vol. I, 359. It is interesting that, according to Edith O'Shaughnessy, Intimate Pages of Mexican History (New York: George H. Doran Co., 1920), 149, when Madero entered Mexico City on June 7 1911, he combined ‘the triple role of prophet, Messiah and apostle’. 27. Elsa Arana Freire, ‘Los pájaros de la noche de José Donoso’, Plural (1974), 67. 28. Mercedes San Martín, ‘Entretien avec José Donoso’, Caravelle, XXIX (1977), 196. At the time of writing, however, Donoso has returned to Chile and has been admitted to the Academia. 29. Donoso's words to Elsa Arana. ‘Los pájaros de la noche …’, 67. 30. Mercedes San Martín, ‘Entretien avec José Donoso’, 200. 31. Emir Rodríguez Monegal, ‘La novela como “happening”. Una entrevista sobre El obsceno pájaro de la noche’, Rev. lb., nos. 76–77 (1971), 527; Mundo Nuevo (septiembre de 1967); Rodríguez Monegal, ‘La novela como happening’, 531 and 535; George McMurray, ‘Interview with José Donoso’, Hispania, VIII (1975), 391; Carlos Alberto Cornejo, ‘Sin límites fuera de Chile’, Ercilla (31 de mayo de 1967), 62. 32. ‘“Casa de campo” de José Donoso’, 11. 33. See my ‘El obsceno pájaro de la noche: A Willed Process of Evasion’, Contemporary Latin American Fiction, ed. S. Bacarisse (Edinburgh: Scottish Academic Press, 1980), 18–33. 34. Like el Mudito, Juan Pérez voluntarily brings about his own annihilation: he kills the only one capable of recognizing his personal autonomy. 35. The question of sacrifice in Casa de campo could be profitably studied, bearing in mind the sacred state attained by the victim by means of his suffering. René Girard, in his La Violence et le sacré (Paris: Grasset, 1972) cites the Hubert and Mauss ‘Essai sur la nature et la fonction du sacrifice’, from L’Année sociologique (1889), in which it is pointed out that ‘il est criminel de tuer la victime parce qu'elle est sacrée … mais la victime ne serait pas sacrée si on ne la tuait pas’ (13). 36. “Lecturas”, ¡Hola! (6 de octubre de 1978). 37. Este domingo (Barcelona: Seix Barral, 1976), 158. (First edition: 1966.) 38. Nueva narrativa., 152. 39. Coronación (Santiago de Chile: Editorial Nascimento, 1957) has a protagonist who is torn between the elegance and refinement of his existence and the sexual attraction he feels for a servant-girl.
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