Around the time of the Massacre in Mexico, there were a number of books written based on the brutal killings. Three popular books that were written by Mexican writers and addressed the movement of Mexican students, during that era, were Massacre in Mexico (by Elena Poniatowska), ’68 (by Paco Ignacio Taibo II), and Palinuro of Mexico (by Fernando de Paso). Their literature presented a disturbing look into a student movement, which culminated in hundreds of student protestors being massacred on October 2, 1968, in the Plaza de las Tres Culturas/Tlatelolco of Mexico City. This event led Pablo Ignacio Taibo II to write in the preface of his book ’68, “There are no countries without fairy tales lurking in their shadows.” His book is a collection of fragments that records what took place during that infamous year. And when Taibo addresses countries having fairy tales, it has nothing to do with a happy ending. Instead, he points out how countries present a positive, false image to cover up the negativity that continues to exist.
All three of the bodies of literature deliver a detailed look into what took place during that era of massacres, but this essay will examine the work of Elena Poniatowska, Massacre in Mexico. The events that took place during the Mexican student movement, lasted from July until October of 1968. Within Elena Poniatowska’s body of work are a compilation of oral histories and photographs. Although Poniatowska’s work is different from the other two authors, they all share the same goal of displaying a search for truth, an importance of their memory, and insisting that the reader pay attention and always remember.
I intend to display how the author uses a variety of techniques to represent and achieve the chronicler...
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...iety of oral testimonials. By doing so, I believe she is attempting to get around the experience-stories impoverishment, which is caused by violence produced silence. There is no person that speaks, yet the text evokes a spoken word. The mythic violence has been initiated, but the author responds with myths of her own that counteract the original story and fights for justice. I believe that Poniatowska is searching for redemption, but the redemption is only obtainable when it is sought after collectively versus individually. Almost fifty years later, the people responsible for Tlatelolco Massacre still haven’t been punished. One example is Ordaz, who later took on the role as Spain’s ambassador and eventually died of old age. Poniatowska contributed her truths and history surrounding the 1968 events, with hopes that judgment and redemption would be achieved.
The reader is confronted with an interpretation of life in Jedwabne as a shared experience. With the town population of 2,500 and about two-thirds of the residents are Jewish and the rest Polish and Catholic, it was hard for anyone to participate in the economic, social, and political area without inflicting conflict on people with different ideas. Although, Gross claims that religious or ethnic difference did not partake in a role of the engagement between the Non-Jewish and Jew individuals of Poland. He avoids situating the Jedwabne experience among other anti-Jewish mass murders. The Jedwabne experience is represented by Gross's reliance on individual testimonies by direct interviews, interviews done by other interviewers, and memoirs. Court documents from the 1953 trial such the recounts from perpetrators and memoirs from survivors or family of the survivors assist in further evidence of the event. Although, the reliance on testimonials clearly highlights the issue of responsibility. Put another way, rather than providing a clear choice by disregarding the massacre as a hate crime, Neighbors gives the reader the ability to interpret the actions done by the Non-Jewish Poles was completed due the belief of kill or be killed. When a community is demoralized by war,
Teja, Jesus F. De La. A Revolution Remembered: The Memoirs and Selected Correspondence of Juan N. Seguin. Austin: State House Press, 1991.
Mark Danner, an editor for the New York Times magazine, recounts in The Massacre at El Mozote a horrific crime against humanity committed by a branch of the Salvadorian army. He gives multiple points of views and cites numerous eye witnesses to try and piece together something that has been tucked away by the government at the time. In December, of 1981, news reports were leaked to major newspapers in the united states about an atrocity committed and a total massacre of a hamlet in El Salvador, known as El Mozote, or the Thicket. At first, the account was of over a thousand civilians, women men and children with no guerrilla affiliation were massacred. Danner pieces together the testimonies of the survivors, and interviews with officers in the Salvadorian army.
As far back as Rigoberta Manchu can remember, her life has been divided between the highlands of Guatemala and the low country plantations called the fincas. Routinely, Rigoberta and her family spent eight months working here under extremely poor conditions, for rich Guatemalans of Spanish descent. Starvation malnutrition and child death were common occurrence here; rape and murder were not unfamiliar too. Rigoberta and her family worked just as hard when they resided in their own village for a few months every year. However, when residing here, Rigoberta’s life was centered on the rituals and traditions of her community, many of which gave thanks to the natural world. When working in the fincas, she and her people struggled to survive, living at the mercy of wealthy landowners in an overcrowded, miserable environment. By the time Rigoberta was eight years old she was hard working and ...
...a significant event for the men and women of Mexico, comprising a large portion of their lives. Many joined the fight in search for a better life, others wanted revenge, and some were running from the law. Together they formed disorganized and unfocused militias where many lost their lives. During the revolution hundreds were forced to leave their homes and belongings in search for a safer place. Families were torn and separated for years at a time, and women were left to support their houses and children. Eventually, the rebels begun to act like the Federalists, by looting, drinking, and at times killing their own men over money related brawls. The men became accustomed to the violent lifestyle, and although they did not know why, they continued to fight without an end in sight.
Froster, Cindy. The Time of Freedom Campesino Workers in Guatemala's October Revolution. Pittsburg: University of Pittsburg Press, 2001.
In this way, George – no longer Guánlito – has politically and culturally betrayed his people, and “is not is not the tragic hero who has died in defense of his people” (Mendoza 148). In conclusion, through its plot, characterization, and rhetorical devices such as tone, George Washington Gomez is an anti-corrido. However, it must be said that perhaps in its purpose as an anti-corrido, the novel is a corrido. In telling the story of Guánlito, the anti-hero of the Mexicotexans, perhaps Paredes is singing the readers his own border ballad, an ironic, cautionary tale to the Chicanos to remember who they are and where they came from and to resist, always, as a corrido hero would.
Imagine yourself as an Ixil Mayan at the local marketplace. You wander around the stalls, viewing the hand-crafted goods. As the midday sun beats down on you, the sound of footsteps coming towards you becomes audible among the chatter of your fellow Mayans. Suddenly, the voices stop, and a gunshot echoes in the air. For what seems like an eternity, the marketplace is drowned in the slight whimpers of children as their mothers’ skirts muffle their moaning. You are still frozen in your place in front a stall. Then, a quick moment of common sense drives you to hide behind a wall. Before you know what is happening, the space around the market is filled with screams. A man falls down beside you with his eyes rolled back and a gaping wound in his chest. Blood trickles through the wall. The pleading cries of the women have a chilling effect. As more bodies fall down beside you, you suddenly become aware of an officer standing above you. A gun is pointed at you. Up until now, you didn’t think of running, but once the trigger is pulled, you know you don’t have a chance. Moments later, you are gone. The genocide that occurred in Guatemala tragically cost thousands of Ixil Mayan lives and ruined many others.
They’ve set a shining example of how the will to make a difference can have drastic and incredible results effective or not to the immediate situation at hand, it encourages the surrounding people to question the value of their freedom. After the dictatorship fell, the trial of the murderers was on T.V. for a month, and they admitted to killing the Mirabal sisters and Rufino by strangulation. Although they died however, their sacrifice had not gone unnoticed. The memory of their sacrifice is honored today, by a national holiday and monuments, and through these closure is found, but their story is not lost. “Las Mariposas” leave an important legacy that enforces the ever existing
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
In schools, students are being taught wrong information. “Our gods were vanquished after the fall of Tenochtitlan as were our traditions. Our warriors and nobles were eradicated, our children starved and our women ravished by the white conquerors and their allies.” (157). In books across America, the Spaniards were said to be good people, but the way that Huitzitzilin described what happened, shows the complete opposite of how the Spaniards actually were.
“Papi pulled me to my feet by my ear. If you throw up— I won 't, I cried, tears in my eyes, more out of reflex than pain” (307). As this scenario presents violence, it displays innocent Yunior’s response towards his abusive father as he pulls Yunior’s ears. In the short story Fiesta 1980, Junot Diaz depicts the life of young Yunior as he struggles with his Dominican family issues. Yunior was picked on the most in the family, especially from his dad. As Poor Yunior was the victim of his dad’s affair with a Puerto Rican woman, it affected him psychologically. Yunior suffers from the fact his beloved mother is being cheated on; therefore, he vomits as he rides his dad’s van, as his first ride in the van is linked to his first meeting with
Sandra Cisneros’s short story “Never Marry a Mexican” deals heavily with the concept of myth in literature, more specifically the myth La Malinche, which focuses on women, and how their lives are spun in the shadows on men (Fitts). Myths help power some of the beliefs of entire cultures or civilizations. She gives the reader the mind of a Mexican-American woman who seems traitorous to her friends, family and people she is close to. This causes destruction in her path in the form of love, power, heartbreak, hatred, and an intent to do harm to another, which are themes of myth in literature. The unreliable narrator of this story was created in this story with the purpose to show her confusion and what coming from two completely different cultures can do to a person, and what kind of confusion it can bring.
In 1910, the first social upheaval of the 20th century was unleashed in Mexico. Known as the Mexican Revolution, its historical importance and impact inspired an abundance of internationally renowned South American authors. Mariano Azuela is one of these, whose novel, "The Underdogs" is often described as a classic of modern Hispanic literature. Having served as a doctor under Pancho Villa, a revolutionary leader of the era, Azuela's experience in the Revolution provides The Underdogs with incomparable authenticity of the political and social tendencies of the era between 1910 and 1920. The Underdogs recounts the living conditions of the Mexican peasants, the corruption of the government troops, and the revolutionary zeal behind the inspiring causes of the revolution. In vivid detail and honest truth, Azuela reveals the actuality of the extent of turmoil that plagued Mexico and its people during the revolution. However, before one can acknowledge The Underdogs as a reflection of the Mexican Revolution one must have an understanding the political state of Mexico prior to the Revolution and the presidents who reigned during it.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.