Horror in Latin American literature: Crash Course Latin American Literature #6

Crash Course Latin American Literature: Horror & The Gothic

Key Concepts:

• Pedro Paramo: Juan Rulfo’s seminal novel, considered a foundational text for Latin American literature and the Gothic genre.
• Magical Realism: A literary style blending fantastical elements with realistic settings, popularized by the “Boom” writers.
• Nuevo Gótico Latinoamericano (New Latin American Gothic): A contemporary subgenre of horror addressing political and social issues in Latin America, particularly those affecting women.
• Environmental Determinism: The theory that the physical environment shapes human destiny and behavior.
• La Nolla del Dictador: A genre of fiction interrogating dictatorships.
• Goautico Andino (Andian Gothic): Horror fiction inspired by the landscape of the Andes mountains.

The Roots of Horror in Latin America

Latin American literature, while rich in spiritual and folkloric traditions featuring ghosts and spirits (like Mexico’s Día de Muertos – Day of the Dead), developed a distinct horror genre relatively recently. The blending of indigenous beliefs with Spanish Catholicism created a cultural landscape receptive to the supernatural, but the literary exploration of horror as a genre took time to emerge. The video highlights that while ghosts are not new to Latin American culture, the literary horror genre is a more recent development.

Juan Rulfo and Pedro Paramo (1955)

The cornerstone of Mexican horror literature is Juan Rulfo’s Pedro Paramo. Rulfo’s life was marked by violence and loss: his father was killed by bandits when he was six, and his mother died during the Guerra Cristera (Cristero Rebellion), a conflict between Catholic peasants and the Mexican army. His family’s financial ruin led him to boarding school and eventually Mexico City, but he never forgot his rural roots and the trauma of his youth.

Pedro Paramo tells the story of Juan Preci, who travels to the ghost town of Comala to find his father, Pedro Paramo. The novel begins with the iconic line, “Vine a Comala porque me dijeron que vivía mi padre” (“I came to Comala because I was told my father lived here”). Comala is not a typical town; it’s abandoned and populated by ghosts, each bearing witness to the cruelty and violence inflicted by Pedro Paramo, a callous landowner. The name “Comala” itself signifies “wasteland” or “barren plain,” reflecting both the physical and emotional desolation of the town.

Rulfo’s stylistic innovations were crucial. He employed stream of consciousness – writing as if recording a character’s thoughts – and non-chronological storytelling through flashbacks, creating a dreamlike and unsettling atmosphere. This blend of historical influences and new techniques initially perplexed readers but profoundly impacted subsequent Latin American writers.

Influences and Literary Connections

Rulfo’s work draws on several key influences:

• Environmental Determinism: The desolate landscape of Comala mirrors the moral and spiritual decay of its inhabitants, echoing themes found in earlier works like Domingo Féninoto’s 1845 novel Bacundo.
• La Nolla del Dictador: Rulfo portrays Pedro Paramo as a ruthless strongman, reminiscent of historical dictators, wielding power without compassion.
• Magical Realism: Pedro Paramo paved the way for the “Boom” writers of the 1960s, who frequently used magical realism – incorporating fantastical elements into realistic settings – to explore complex themes. Gabriel García Márquez specifically cited Pedro Paramo as an inspiration for his masterpiece, Cien Años de Soledad (One Hundred Years of Solitude).

The Nuevo Gótico Latinoamericano (New Latin American Gothic)

The legacy of Pedro Paramo extends to a new wave of Latin American horror writers responding to the political and social turmoil of the 20th and 21st centuries. This subgenre, the Nuevo Gótico Latinoamericano, uses horror to address issues like authoritarianism, economic hardship, violence, and the trauma experienced by Latin American populations.

Argentinian writer Mariana Enriquez, born in 1973 during Jorge Videla’s dictatorship, exemplifies this trend. She views ghosts as “somebody trapped in its trauma, personal or historical, repeating it forever,” highlighting the enduring impact of the past. Her story “Las Cosas Que Perdimos en el Fuego” (“The Things We Lost in the Fire”) features teens exploring a former police academy under Videla’s regime, where the lines between literal and historical ghosts blur.

This subgenre specifically focuses on issues affecting women. Ecuadorian writer Monica Oella’s short story collection Las Boladoras blends horror with Incan mythology and folklore, linking contemporary challenges to ancient beliefs. She describes her writing as having a “cardiac quality,” inspired by the volatile natural landscape of Ecuador. Her work is categorized as Goautico Andino (Andian Gothic), emphasizing the connection between the environment and societal problems, while also addressing the threat of sexual violence against women.

Contemporary Authors and the “New Boom”

The popularity of Latin American Gothic has led some to call it the “new boom” or the “female boom.” Notable contemporary authors include:

• Fernanda Melur: Hurricane Season
• Liliana Colanzi: You Glow in the Dark
• Maria Fernanda Ampuero: Human Sacrifices
• Dolores Reyes: Earth Eater

However, some authors, like Ampuero, caution against labeling it solely a “female boom,” arguing that it risks marginalizing female writers and focusing on their gender rather than their literary contributions.

Conclusion

Latin American horror literature has evolved from its roots in folklore and the groundbreaking work of Juan Rulfo to a vibrant contemporary genre. Writers are using horror not merely to scare, but to confront the enduring traumas of the past, address pressing social and political issues, and give voice to marginalized experiences. By blending the fantastical with the real, these authors create unsettling narratives that serve as both warnings and reflections of the complex realities of Latin America. The genre’s continued growth suggests that it will remain a powerful force in Latin American literature for years to come.