Deep Rivers

Rating:
Summary: Brutality of Pizarro's descendents - Brutalizing Quechuas
Review: JOse Maria Arguedas depicts two different worlds That can't bridge the difference that exists between them. He describes the conqueror's descendents who feel and think as their ancestors who believe that native Peruvians (Quechuas) are animals, who do not know any better, and therefore should be used and treated as animals i.e. kill and use Quechuas whenever they think is appropriate. The novel is a description of the mentality of the conqueror's descendants and their brutality towards the Peruvian natives (Quechuas),which is exploitation, Killing, no sense of value or least of all respect towards the Peruvian natives.

Rating:
Summary: Conflicting cultures flow deep beneath modern-day Peru
Review: 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.

Rating:
Summary: Hauntingly poetic
Review: 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"...

Rating:
Summary: Hauntingly poetic
Review: 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"...

Rating:
Summary: Less a novel than a series of reflections
Review: 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.