An Historical View of Jose Donoso's "Paseo"

This my final paper for my Third World Literature class.

Jose Donoso’s short story entitled Paseo reveals the isolationist life of a family in mid-twentieth-century Chile, a situation which goes hand in hand with the lives of the Chilean people under strict military rule and a conservative regime. The suppression of dissent which occurred in Chile during this time is captured by the story’s conclusion, wherein the narrator’s Aunt Mathilda, the character who embraces her freedom and who breaks away from the lifeless status quo, dies. However, this death, as was the dullness of the restrictive life in Chile, is met with silence; life, with all its meaning exhausted, goes on.

Written in 1959, Paseo captures the rigidity of Chilean life, particularly that of a family, in the twentieth century. During this period, Chile experienced being ruled by military officials and politicians who, while calling themselves reformists, perpetuated conservatism in Chile (Rector 133-154).A culture of conservatism, nationalism, and counterrevolutionary thought and practice thus prevailed from the 1900s until the 1950s, a period which is partially ignored due to the more notorious authoritarian regime of Augusto Pinochet in the 70s.

Although this socio-political context is not Donoso’s primary basis for writing the story, it nonetheless provides the reader with the dynamics of Chile as a country, which affects all units of society, from the individual to, in this short story’s case, the family. In an interview, Donoso admits the somewhat minor influence of sociology, history, and/or politics to his writing. He states that this “compulsion to explain and to place ourselves [Latin American writers] in a historic, sociological context...is very strong, and sometimes I think it mars many novels in Latin America which could have been much better if they have not been so explicitly sociological” (Leiva 178). Yet, even if the themes of his works revolve around memories of a family, he sees himself as a writer who is part of a bigger world: “I consider myself...a very small thing, and then something bigger which is Chilean, and then something which is bigger still which is Latin American, and then something which is bigger still, which is let’s say the world. I can’t separate all these planes of existence, all of them are me” (Leiva 176). Given this approach, Donoso’s Paseo can still be viewed within the realm of Chilean society and politics.

In this analysis, it is of great importance to put emphasis on the characters and the symbols used by Donoso to deliver his message. Almost serendipitously, this message coincides with the larger reality of lifelessness, rigidity, and conservatism experienced by the Chileans in the first half of the 1900s.

Looking at the characters, one can see the different paths taken by Mathilda and her brothers; the former “shuns her routine existence to descend into the animalistic night world accompanied by a stray dog” while the latter continue to exist in silence and  lifeless perfection (Feal 53). Prior to Mathilda’s freedom from the shackles of an all-too-predictable way of living, both she and her brothers operate in a space of rigidity and propriety. All emotions are bottled up, therefore rendering love as an expression which is unnecessary and even dangerous. Thus, Donoso notes that this tenderness “found itself stylized now in the form of certain actions, useful symbols which did not require further elucidation” (615). In short, being secure, “to be neither hungry nor cold nor uncomfortable,” is given far more importance than embracing one’s liberty (616).

This tension between security and liberty becomes truly visible when Mathilda decides to go for walks with the dog she harvests a relationship with. Mathilda now yearns for freedom, lives a life in the streets, and truly engages with ‘the other.’ Her brothers, meanwhile, bury their feelings, continue to live in comfort, and remain apathetic. The path taken by the aunt certainly breaks the mold which has always been offered to her by her lifeless world. Indeed, it is a new life, the exact opposite of her brothers’ lives, a world “without anything fortuitous and unexpected” (617).

These different paths or types of personalities are, of course, parallel to historical realities. The fact that initially, the whole family is subjected to a life of adherence to proper decorum may refer to the events in 1925-27, wherein the powers of the presidency were increased and General Ibanez established a dictatorship (Rector 132). Needless to say, the lives of the Chileans during this time made it riskier for them to go against law and order. In the story, the narrator prays that his father Pedro, who, with the rest of the family were playing an ‘orderly’ game of billiards, “would rebel against the order,” but to no avail. There simply are severe repercussions for those who dissent. Under a strict government, the Chileans, particularly those who held demonstrations in the late 1920s, were repressed by the conservatives and the military, which led to the Marusia and La Coruna Massacres (Collier 212).

A sense of hope glimmered in the late 1930s leading up to the 40s, when the Chilean leftist groups formed a Popular Front coalition and introduced new economic policies leaning towards social programs (Rector 151-152). This turn against restrictive law and order imposed by the military regime coincides with Mathilda’s character taking the path against the status quo. Evidently, Mathilda’s newfound spirit, a departure from security and comfort, brought “an animation in her eyes, an excited restlessness like that in the eyes of an animal” (627). As mentioned earlier, however, this act of freedom poses severe consequences. Much like how the communists were eventually banned by the right-wingers in the 1950s, Mathilda meets her end after being out in the streets. The installation of Gen. Ibanez, a nebulous and vacillating political figure, created an atmosphere of uncertainty and rigidity. Thus, and much like how the story ends, silence continued to prevail.

Of course, to further deepen one’s understanding of how the story plays within historical, social, and political events, it is necessary to focus on the different symbols found in Paseo. Most of Donoso’s works employ symbols which correspond to the disintegration of order. In this essay, the symbols of the house, which trapped the characters in a sense of order, and the dog, which triggered a kind of disintegration, are looked upon.

Going back to Mathilda’s rebellion, one can see how her relationship with the dog may epitomize solidarity with the poor. The dog, of course, with its description as an animal which is “sick and filthy” or something that simply “did not exist” heavily complements the image of those belonging to the lower strata of Chilean society (618-620). The narrator’s family, on the other hand, with their comfortable way of living based on their duty to maintain a misconstrued idea of perfection, might very well represent the bourgeoisie. Chile’s society, in the period leading up to the time when Paseo was written, had been deeply divided and was enduring an atmosphere of isolation. National industrialization in Chile led to massive urban migration and deep social inequalities (Torche 427). The relationship between the filthy white bitch and the all-too-proper family, ironically reveals the sameness between them, a sameness which is masked by societal differences. Inequality, at least from a historical view of Paseo, can only be abolished through solidarity, as Mathilda finds her equal and as the immobility of the dog enables the family to move and feel again (122-124).

As in most of his novels, Donoso operates within the theme of the ultra-secure life of the upper class, wherein some of the characters, like Mathilda, veer away from their crumbling homes in order to see the world fully, and, with all its simplicity, to live (Leiva 178-179). In light of this, the house itself serves as a good symbol of Chile as a country. In both, “what took place...was...an absence, a lack, which because it was unacknowledged was irremediable, something that, if it weighed, weighed by not existing” (615). While there is an acknowledgement of the possibility of a different reality, this exterior world, in the story, is filtered by windows, walls, fences, and thick doors. For the family, if the house they dwell into is ‘heaven,’ then mistaken thoughts of an alternative reality must always be corrected. The house appears to be complete and absolute; there is precisely no use in immersing oneself to the uncomfortable outside world. The effect of this kind of suffocation, for Donoso, is simply emotional coldness, the absence of any form of feeling. Given the fact that most historians consider this period in Chilean history as relatively stable, it is perhaps reasonable to assume that this historical quietism is indicative of the isolation of most people during that era. In a sense, the people were trapped in a culture of rigidity, much like how the narrator’s family is stuck within the confines of their home. From a personal standpoint, Donoso states that he “has been so rooted to a place absolutely and completely” but even if he belongs to a house, he “had to fight against a milieu which was reflected in these houses”  (Leiva 177).

Donoso seems to suggest, therefore, the necessity of going outside and making contact with the ‘other’ to break away from a lifeless world of security. This desire of being able to release oneself is incidentally concurrent with the political events that took place within the timeframe of when the short story was written. Perhaps, as one final point of analysis, the title ‘Paseo,’ which means ‘walk’ is an invitation to live, and not just exist comfortably. And to justify the contents of this paper, perhaps this theme of going outside is parallel to an analysis of Paseo as a story which goes beyond just psychological and universal themes. It is, in a way, still a narrative which is in touch with history.

WORKS CITED

Collier, Simon and William F. Sater. A History of Chile 1808-2002. Cambridge: Cambridge University Press, 2004. Print.

Feal, Rosemary. “In My End Is My Beginning: Jose Donoso’s Sense of an Ending.” Chasqui 17.2 (1988): 46-55. Print.

Rector, John. The History of Chile. New York: Palgrave Macmillan, 2005. Print.

Torche, Florencia. “Unequal But Fluid: Social Mobility in Chile in Comparative Perspective.” American Sociological Review  70.3 (2005): 422-450. Print.

Female Figures in Devi and Nang Nak

This is a short essay analyzing the films Devi and Nang Nak.

Christianity sees the Virgin Mary as an intercessory figure which has to be venerated by the members of the Church. As a central figure in the Catholic tradition, she is perceived as the essence of being a woman, appealing to emotions as opposed to the rigid realm of logicality. She is seen as the opposite of Eve, who put sin into this world; Mary gave birth to the Word, and gave Him His human characteristics. But more importantly, in relation to the communitas, the Marian figure, with its multiple ‘local’ meanings, is important in terms of uniting a locality.

With all this said, it is interesting to note that other religions also have their share of female figures which are also put in a place of high regard, albeit in different ways. In the films Devi and Nang Nak, one sees how the figure of a woman, as a goddess or as a ghost, is treated in the Hindu tradition and in Thai local folklore.

While there are similarities between the Mother Goddess (Kali) of Hinduism and the Blessed Virgin Mary, it appears, at least in Devi, that the Hindu goddess is not just held in honor, but also worshipped and adored. This suggests that the devotion of Hindu followers is much more intense as compared to the devotion of Christians to Mary. Indeed, similar to Mary, the Hindu goddess is treated as a counterpart to the male figure, which symbolizes consciousness and reason. In the film, Dayamoyee, seen in a dream (a form of unconsciousness) by her father-in-law as the reincarnation of Kali, represents unconsciousness and emotions while her husband, given his education, appears to be her conscious and logical counterpart.

Sharmila Tagore plays as Dayamoyee, the 'reincarnation' of Kali

The Hindu deity is also seen as a ‘mother,’ capable of providing refuge to her sons and daughters and performing (or at least helping carry out) miracles to the faithful. However, the Hindu goddess appears not simply as a figure which intercedes; alone, she can perform miracles. In the words of Kalikinkar, Dayamoyee’s  father-in-law, the Mother goddess ‘can make the impossible possible.’ Kalinkinkar, in a conversation with his son Umprasad, mentions how he worshiped the merciful mother with such rigor for more than 40 years. This intense reverence for the goddess is seen further in the chants constantly sung in the film, with lyrics ranging from ‘we are not worthy’ or ‘have mercy on us, Mother.’

The strong devotion to the Mother Goddess does not end there. It is also important to point out how the idea of incarnation makes the dynamic between the signified and the signifier more difficult to delineate. In contrast to the figures of the Virgin Mary, the signifier in the Hindu tradition is a living person, not an icon. Further, the fact that the goddess has presented herself to the people in the guise of Dayamoyee makes the distinction between the signified and the signifier harder to grasp. The symbol (the signifier) is no longer just a convenient representation since the signified, which in this scheme of things no longer appears to be thoroughly transcendent, has made itself present in the signifier.

The blurred signified-signifier dynamic presented in Devi is not the only dilemma faced by Hinduism, or the whole idea of religion for that matter. The clash between the individual and the community is also masterfully presented throughout the film. In sum, the film seems to suggest that personal beliefs and desires, when opposed to tradition, are destined to fall into a tragic pit. The movie’s conclusion is a testament to such argument. Dayamoyee, even if it is against her will to become a goddess, is left no other recourse but to believe as others believe. In tears, the protagonist helplessly watches the throngs of people worshipping her, coming from distant places just to witness the goddess. This leads to an unfortunate end, as Dayamoyee fails to heal a severely ill Khoka. Of course, in turn, Dayamoyee loses her sanity. But she has already lost something even before the death of the child: her identity.

Nang Nak, on the other hand, as opposed to Devi, involves the story not of a deity, but of a ghost. The Thai horror film recounts the legend of Mae Nak, a woman loyal to her husband Mak, even after her death. While both the Virgin Mary (Mother of God) and the Devi (female deity) generate some form of devotion from their adherents, the ghost of Nak inevitably imposes fear among the members of the community. However, it is interesting how the townspeople in the film, upon learning how Nak continues to terrorize those who try to destroy her family, draw nearer and nearer to the Buddhist monks, as if to suggest that these enlightened men have the capacity to intermingle with spirits and lay them to rest.

Nang Nak

Slightly veering away from the figure of the woman presented in Nang Nak, one has to pay attention to the role of the Buddhist monks in the film. Throughout the film, one sees how the monks are respected in the community, seen as wise men capable of guiding lay followers toward the right path, or, more appropriate to the Buddhist tradition, the middle path. Nak herself consults the head monk of the local temple when she was still alive to know the condition of her husband who was sent to fight in the Siamese-Vietnamese war. In a meeting wherein the local community is to discuss the actions that should be taken to fend off Nak’s ghost, the townspeople, although free to give suggestions, clearly recognize the chief monk of the locality as the central figure. Ultimately, it was the High Dignitary, Somdej Toh, who is able to successfully persuade Nak to no longer disturb the town, keeping her spirit in a girdle brooch made out of her own forehead.  

Going back to the figure of the woman, the ghost of Nak seems to still portray the quintessential traits of a woman. For one, Nak is evidently driven by her emotions, by an undying love for her husband. This leads to a disastrous situation for the people of the community, for the stubbornness of the ghost, fueled by her intense emotions, leads to her eliminating anyone who tries to show Mak the truth. Aside from this emotional and loving nature of Nak, one also sees the care she shows for her child (Dang), who, according to Nak herself, should always be with her. In sum, the movie portrays the woman as a figure which revolves around emotions, love, and desire.

Given this, the figure of the woman, embodied by the ghost of Nak, seems in opposition to the basic tenet of Buddhism--ridding oneself of desire. Holding on to Nak, Mak is perceived by his community as a person who is downright insane, unable to accept the reality of his wife’s death. Perhaps such image of Mak is analogous to a person not being able to let go of his desire, a person incapable of seeing the ‘truth.’ Thus, the conclusion of the film comes full circle as Mak, no longer living with ghosts and no longer controlled by his desires, decides to live a life of asceticism together with the other monks.

In conclusion, the films Devi and Nang Nak definitely provide the audience with a substantial image of the culture of Hinduism and Buddhism respectively. More specifically, these two movies provide differing views concerning the woman. Devi sees the Mother Goddess as a source of comfort, forgiveness, and miracles, and should thus be treated with the utmost respect and devotion. On the other hand, Nang Nak shows the ghost of Nak, in a sense, as a symbol for desire, and the only way for one to continue living is to let go of this strong feeling of wanting.

It is equally important to look into how these figures are approached by the communities in which they are a part of. In Devi, people from different places gravitate towards the incarnation of the goddess, willing to endure a long journey just to witness the female deity or even ask for her blessing. This unity of a community is also seen in Nang Nak, although for very different reasons. Fear that the apparition of Nak might haunt them, the people of the town decide to hold a gathering, led by the monks, to discuss how they must act. Thus, similar to the unifying characteristic of the Virgin Mary, these female figures bring together people for a common purpose or action. All in all, the effects of images and symbols on the communitas cannot be overemphasized. While both films end with a more or less despondent note, it is nonetheless important to take note of the unifying, and therefore hopeful, aspect behind these female figures.