Juan Rulfo

  García Márquez wrote in his moving article “Reminiscence of Juan Rulfo”: “The in-depth knowledge of Juan Rulfo’s work finally led me to find the way to continue writing. The way I need to find my book…his work is only three hundred pages, but it is almost as vast as the work of Sophocles as we know it, and I am sure it will be just as enduring.”
  This passage at least Two questions are addressed, the first being what one writer means to another. Obviously, this is one of the most amazing experiences in literature. On July 2nd, 1961, García Márquez reminds us that this was the day Ernest Hemingway shot himself, and that his own wandering career continued, the day he came Mexico, came to the city where Juan Rulfo lived. Before that, he had endured three years in Paris and eight months in New York, before his life took him to thirty-two, with his wife Mercedes by his side, and a young child, and he was in Mexico got a job. García Márquez thought he knew Latin American literature very well, and of course Mexican literature, but he did not know Juan Rulfo; his colleagues and friends in Mexico were very familiar with Juan Rulfo works, but no one told him. García Márquez had already published Dead Twigs and Leaves, and three other books, The Colonel Who No One Wrote to Him, Bad Hour and The Funeral of Aunt Grande were soon to be published. , his genius has begun to emerge, but only the author knows what he is going through, he is going through a bad time, because his writing has entered a dead end, and he can’t find a crack to get out of. At this moment, his friend Alvaro Mutiz came with a bundle of books, and took out the thinnest one and handed it to him, Pedro Baramo, in that A sleepless night, García Márquez and Juan Rulfo met.
  This may be the most moving encounter in literature. Of course, Jean-Paul Sartre read Kafka in a chair in a park in Paris; Borges read Oscar Wilde; Albert Camus read William Faulkner; Baudelaire read To Edgar Allan Poe; Eugene O’Neill to Strindberg; Maugham to Dostoevsky… The odd spelling of Kafka’s name once made Jean-Paul Sartre sneer, but When he finished reading Kafka, he could only laugh at himself.
  This is how literature is inherited. A French and an Austrian, or an English and a Russian, although they live in different times and spaces, speak different languages ​​and like different clothes, fall in love with different women and different men , and belong to their own different destiny. The existence of these reasons makes them turn a blind eye even if they have the opportunity to sit together. But there is one reason, only one reason, that can make them transcend time and space, transcend death and prejudice, see their own image in each other’s face, hear their own heartbeat in each other’s chest, sometimes literature can make two Different people become one person. So when a Colombian and a Mexican meet suddenly, not even God can stop them. García Márquez has found a crack through which a dead end can be drilled, and Pedro Baramo becomes a light, perhaps a very faint light, but more than enough to make one survive.
  The writing of one writer influences the writing of another. This has become a continuation of writing in literature, allowing the continuation of ancient emotions and time-honored ideas. There is no question of who is profiting or who is being The issue of coverage, the influence in literature is like the sunlight that plants are bathed in. Plants need sunlight to shine, not because they want to be sunlight, but to always thrive in the way of plants. On the other hand, the growth of plants also shows the indispensable importance of sunlight. The same is true of a writer’s writing. The influence of other writers is precisely to make themselves constantly discovering themselves, making their own writing more complete, and at the same time extending literature, so that people’s reading has the opportunity to understand the writings of today’s writers. Writing, but also to learn more about the writing of past writers. Literature is like a road, with directions at both ends, people’s journey of reading, after passing by Juan Rulfo, came to the station of García Márquez; in turn, through García Márquez , and also to Juan Rulfo. Two separate writers are like their separate regions, connected by a certain spiritual path, and they have complemented each other.
  In “Memories of Juan Rulfo,” García Márquez points out that the writer’s work is only three hundred pages long, but he is as vast as Sophocles. Márquez went beyond Shakespeare in search of an even more staggering number of writers to complete his metaphor. Here, García Márquez points to a fact that has existed for a long time in literature, that the vastness of the work and the number of works are not the same thing.
  Like EM Foster pointed out TS Eliot; William Faulkner pointed out Sherwood Anderson; Isaac Singer pointed out Bruno Schultz; Updike pointed out Borges… …There is a lot of talk about how a vast reading has been achieved in the works of a very limited number of writers. Coleridge believes that there are four types of reading: the first type is “sponge” reading, which can be easily inhaled into the body and can also be easily excreted; the second type is “hourglass timer” type. , they read one book after another just to miss a pass on the timer; the third is the “filter” type, where they read widely just to leave a mark in memory; the fourth is what Coleridge wanted to see They read not only for their own benefit, but also for the possibility of others to apply their knowledge, but such readers were, in Coleridge’s eyes, “people as precious and rare as brilliant diamonds” . Clearly, García Márquez was a “fancy diamond” in Coleridge’s vision.
  Coleridge left the conundrum to reading, and then he accused the majority of the indiscretion with words, his accusations made him appear ambiguous, expressing his dissatisfaction with the prevailing way of reading on the one hand, and his lack of it on the other. Forget about irresponsible writing. In fact, the source is here, it is those writers who treat words lightly, and such vices are common in every age. When Juan Rulfo was immortalized by his brilliant writing, another kind of writer Writing that hurts literature, that is, writing vices, can also be passed on from generation to generation beyond death. This is why García Márquez distinguishes between the vastness of the work and the quantity of the work, and Coleridge’s passion for finding a fourth type of reading.
  García Márquez continued in the article: “When someone said to Carlos Vero that I could recite “Pedro Baramo” paragraph by paragraph, I was still addicted to Juan Ru I can recite the whole book by heart, and I can recite it backwards without big mistakes. And I can tell which page of the book I read each story on. There is not a single character I am unfamiliar with.”
  What other reading can be as enduring, sincere, deep and broad as Márquez? Even when it comes to his own works, it is difficult for Marquez to go back and forth without serious mistakes. Where Coleridge hesitated, García Márquez pointed out, more realistically, the boundless breadth of reading. For Márquez, the complete or fragmented, and ultimately the continuous reading process of Pedro Baramo is, in a sense, a process of writing again and again. I’m not familiar with any of the characteristics”, García Márquez’s reading became another pen, constantly rewriting and continuing to write “Pedro Baramo”. But instead of writing it on paper, he wrote it into the river of his own thoughts and emotions. Then he switched to a pen and wrote One Hundred Years of Solitude in a completely independent way, this time on paper.
  In fact, in the writing of Pedro Baramo and The Burning Field, Juan Rulfo has shown the fact that writing never ends, which seems to exist in all good works . Just as Berryson praised Hemingway’s The Old Man and the Sea for being “symbolic everywhere,” Juan Rulfo’s Pedro Balamo has the same quality. The unfinished writing after the work is completed has almost become the most important quality of Pedro Baramo. In this work of just over a hundred pages, it seems that the narrative can be continued after each subsection, making it a thousand-page book, an endless book. But no one can continue the narrative of Pedro Baramo, not even Juan Rulfo himself. While this is a book that will never be finished, it is also a book that will never be finished. Still, it’s always an open book.
  Juan Rulfo’s writing without boundaries also abolishes the boundaries of García Márquez’s reading, which is why Márquez can recite Pedro Baramo. Just as Juan Rulfo’s writing is unfinished, so Márquez’s reading is unfinished after each end, as is his own writing. Now, we can understand why García Márquez read the Sophocles-like vastness in Juan Rulfo’s work, because he got the boundless reading in a thin book . At the same time, it is understandable that Márquez has another feeling: unlike those classic writers who are widely talked about, Juan Rulfo’s fate is – widely read.