Century of the Wind Page 8

  He falls silent. Looking into the distance, he finally says: “I never even heard the word ‘socialism’ until he explained it to me.”

  All at once he rises, and extending his arms, rebukes the silent guitar-players: “And the music? What happened to the music? Play!”

  (206)

  1923: Mexico City/Parral

  The People Donated a Million Dead to the Mexican Revolution

  in ten years of war so that military chieftains could finally take possession of the best lands and the most profitable businesses. These officers of the revolution share power and glory with Indian-fleecing doctors and the politicos-for-hire, brilliant banquet orators who call Obregón the Mexican Lenin.

  On this road to national reconciliation there is no problem that can’t be overcome by a public-works contract, a land concession, or the sort of favor that flows out of an open purse. Álvaro Obregón, the president, defines his style of government with a phrase soon to become a classic in Mexico: “There’s no general who can resist a salvo of fifty thousand pesos.”

  But Obregón gets it wrong with General Villa.

  Nothing can be done with him except to shoot him down.

  Villa arrives in Parral by car in the early morning. At the sight of him someone signals with a red scarf. Twelve men respond by squeezing triggers.

  Parral was his favorite city. “I like Parral so much, so much …” And the day when the women and children of Parral chased out the gringo invaders with stones, the horses inside Pancho broke free, and he let out a tremendous yell of joy: “I just love Parral to death!”

  (206, 246, and 260)

  1924: Mérida, Yucatán

  More on the Function of the Forces of Order in the Democratic Process

  Felipe Carrillo Puerto, also invulnerable to the gun from which Obregón fires pesos, faces a firing squad one damp January morning.

  “Do you want a confessor?”

  “I’m not a Catholic.”

  “How about a notary?”

  “I’ve nothing to leave.”

  He had been a colonel in Zapata’s army in Morelos before founding the Socialist Workers’ Party in Yucatán. There Carrillo Puerto delivered his speeches in Mayan, explaining that Marx was a brother of Jacinto Canek and Cecilio Chi and that socialism, the inheritor of the communitarian tradition, gave a future dimension to the glorious Indian past.

  Until yesterday he headed the socialist government of Yucatan. Innumerable frauds and private interests had not been able to keep the socialists from an easy electoral victory, nor afterward keep them from fulfilling their promises. Their sacrileges against the hallowed big estates, the slave labor system and various imperial monopolies aroused the rage of those who ran the henequén plantations, not to speak of the International Harvester Company. The archbishop went into convulsions over lay education, free love, and red baptisms—so called because children received their names on a mattress of red Bowers, and along with those names, wishes for a long life of socialist militancy. So what could be done, but call in the army to bring the scandal to an end?

  The shooting of Felipe Carrillo Puerto repeats the history of Juan Escudero in Acapulco. The government of the humiliated has lasted a couple of years in Yucatán. The humiliated govern with the weapons of reason. The humiliators don’t have the government, but they do have the reason of weapons. And as in all of Mexico, death rides the dice of destiny.

  (330)

  1924: Mexico City

  Nationalizing the Walls

  Easel art invites confinement. The mural, on the other hand, offers itself to the passing multitude. The people may be illiterate but they are not blind; so Rivera, Orozco, and Siqueiros assault the walls of Mexico. They paint something new and different. On moist lime is born a truly national art, child of the Mexican revolution and of these days of births and funerals.

  Mexican muralism crashes head on into the dwarfed, castrated art of a country trained to deny itself. All of a sudden, still lifes and defunct landscapes spring dizzily to life, and the wretched of the earth become subjects of art and history rather than objects of use, scorn, or pity.

  Complaints pelt down on the muralists, but praise, not a drop. Still, mounted on their scaffoldings, they stick to their jobs. Sixteen hours without a break is the working day for Rivera, eyes and belly of a toad, teeth like a fish. He keeps a pistol at his waist.

  “To set a line for the critics,” he says.

  (80 and 387)

  1924: Mexico City

  Diego Rivera

  resurrects Felipe Carrillo Puerto, redeemer of Yucatán, with a bullet wound in his chest but uninformed of his own death, and paints Emiliano Zapata arousing his people, and paints the people, all the peoples of Mexico, united in an epic of work and war and fiesta, on sixteen hundred square meters of wall in the Ministry of Education. While he washes the world with colors, Diego amuses himself by lying. To anyone who wants to listen he tells lies as colossal as his belly, as his passion for creating, and as his woman-devouring insatiability.

  Barely three years ago he returned from Europe. Over there in Paris, Diego was a vanguard painter who got tired of the “isms”; and just as his star was fading, and he was painting just from boredom, he returned to Mexico and the lights of his country hit him in the face, setting his eyes aflame.

  (82)

  1924: Mexico City

  Orozco

  Diego Rivera rounds out, José Clemente Orozco sharpens. Rivera paints sensualities: bodies of com flesh, voluptuous fruits. Orozco paints desperations: skin-and-bone bodies, a maguey mutilated and bleeding. What is happiness in Rivera is tragedy in Orozco. In Rivera there is tenderness and radiant serenity; in Orozco, severity and contortion. Orozco’s Mexican revolution has grandeur, like Rivera’s; but where Rivera speaks to us of hope, Orozco seems to say that whoever steals the sacred fire from the gods will deny it to his fellow men.

  (83 and 323)

  1924: Mexico City

  Siqueiros

  Surly, withdrawn, turbulent inside—that’s Orozco. Spectacular, bombastic, turbulent on the outside—that’s David Alfaro Siqueiros. Orozco practices painting as a ceremony of solitude. For Siqueiros it is an act of militant solidarity. “There is no other way except ours,” says Siqueiros. To European culture, which he considers sick, he opposes his own muscular energy. Orozco doubts, lacks faith in what he does. Siqueiros bulls ahead, sure that his patriotic brashness is no bad medicine for a country with a severe inferiority complex.

  (27)

  The People Are the Hero of Mexican Mural Painting, Says Diego Rivera

  The true novelty of Mexican painting, in the sense that we initiated it with Orozco and Siqueiros, was to make the people the hero of mural painting. Until then the heroes of mural painting had been gods, angels, archangels, saints, war heroes, kings and emperors, prelates, and great military and political chiefs, the people appearing as the chorus around the star personalities of the tragedy …

  (79)

  1924: Regla

  Lenin

  The mayor of the Cuban community of Regla calls everybody together. From the neighboring city of Havana has come news of the death of Lenin in the Soviet Union. The mayor issues a proclamation of mourning. The proclamation says that the aforementioned Lenin won well-deserved sympathy among the proletarian and intellectual elements of this municipal district. Accordingly, at 5:00 P.M. Sunday next its residents will observe two minutes of silence and meditation, during which persons and vehicles will maintain absolute stillness.

  At precisely five o’clock on Sunday afternoon, the mayor of Regla climbs up Fortín hill. Despite a heavy downpour, over a thousand people accompany him to observe the two minutes of silence and meditation. Afterward, the mayor plants an olive tree on top of the hill in homage to the man who was always planting the red flag over there, in the middle of the snow.

  (215)

  1916: San Albino

  Sandino

  is short and thin as a rake. A stray wind
would blow him away were he not so firmly planted in the soil of Nicaragua.

  In this land, his land, Augusto César Sandino stands tall and speaks of what the land has said to him, for when Sandino stretches out to sleep, his land whispers sorrow and sweetness to him.

  Sandino speaks of the secrets of his invaded and humiliated land, and asks, How many of you love it as much as I do?

  Twenty-nine San Albino miners step forward.

  These are the first soldiers in Nicaragua’s army of liberation. Illiterate, they toil fifteen hours a day hacking gold out of the ground for a North American firm and sleep piled up in a shed. They blow up the mine with dynamite and follow Sandino into the mountains.

  Sandino goes on a small white burro.

  (118 and 361)

  1926: Puerto Cabezas

  The Most Admirable Women on Earth

  are the whores of Puerto Cabezas. From pillow talk they know the exact spot under water where U.S. Marines have buried forty rifles and seven thousand cartridges. Thanks to these women, who risk their lives in defiance of the foreign occupation troops, Sandino and his men rescue from the waters, by torchlight, their first weapons and first ammunition.

  (361)

  1926: Juazeiro do Norte

  Father Cicero

  Once Juazeiro was a nothing of a hamlet—four shacks God seemed to have spat into the void when, one fine day, He pointed a finger at this garbage heap and decided it was to be a Holy City. Since then, the afflicted flock here by the thousands. Every road of martyrdom and miracle leads here. Squalid pilgrims from all Brazil, long lines of rags and stumps of limbs, have turned Juazeiro into the richest city of the northeastern hinterland. In this faith-restoring new Jerusalem, memorials to the forgotten, polestar of the lost, the modest Salgadinho stream is now known as the River Jordan. Surrounded by pious women brandishing their bleeding bronze crucifixes, Father Cicero announces that Jesus Christ is on his way.

  Father Cicero Romão Baptista is the master of the lands and souls. This savior of the shipwrecked in the desert, tamer of madmen and criminals, gives children to sterile women, rain to dry ground, light to the blind, and, to the poor, some crumbs from the bread he eats.

  (133)

  1926: Juazeiro do Norte

  By Divine Miracle a Bandit Becomes a Captain

  Lampião’s warriors fire off bullets and sing songs. Tolling bells and fireworks welcome them to the city of Juazeiro. The cangaceiros display a complete arsenal and a luxuriance of medals on their leather armor.

  At the foot of the statue of Father Cicero, Father Cicero blesses the chief of the gang. It is well known that the bandit Lampião never touches a house containing an image of Father Cicero, or kills any devotee of the miracle-working saint.

  In the name of the government of Brazil, Father Cicero confers on Lampião the rank of captain, three blue stripes on either shoulder, and hands out to his men impeccable Mausers in exchange for their old Winchester rifles. In return, Captain Lampião promises to defeat the rebels under Lieutenant Luis Carlos Prestes, who roam Brazil preaching democracy and other devilish ideas; but he has hardly left this city before he forgets about the Prestes Column and returns to his old routine.

  (120, 133, and 263)

  1926: New York

  Valentino

  Last night, in an Italian bar, Rudolph Valentino collapsed, struck down by a pasta banquet.

  Millions of women on five continents have been widowed. They adored the elegant, feline Latin on the screen-altar of the movie theater, itself a temple for all peoples in all cities. With him they galloped to the oasis, spurred by the wind of the desert, and with him participated in tragic bullfights, entered mysterious palaces, danced on mirrored floors, and undressed in the bedrooms of Indian Prince and Son of the Sheik. Pierced by the languid gimlet of his eyes and crushed by his arms, they swooned into deep silken beds.

  He didn’t even realize. Valentino, the Hollywood god who casually smoked while kissing and annihilated with a glance, he who daily received a thousand love letters, in reality slept alone and dreamed of Mother.

  (443)

  1917: Chicago

  Louie

  She lived on New Orleans’ Perdido Street—the street of the lost—where the dead were laid out with a saucer on the chest for the neighbors’ coins to pay for the funeral. When she dies, her son Louis takes pleasure in giving her a fine funeral—the deluxe funeral she would have dreamed of at the end of the dream in which God made her white and a millionaire.

  Louis Armstrong, who grew up with no more to eat than leftovers and music, fled New Orleans for Chicago with only a trumpet for baggage and a fish sandwich for company. A few years have passed and he is getting fat. He eats to avenge himself. And if he returned to the South now, maybe he’d be welcomed in some of the places barred to blacks and out of bounds for the poor. He could probably walk down most any street in town. He’s the king of jazz and no one argues it. His trumpet whispers, moans, wails, howls like a wounded beast, and laughs uproariously, celebrating with euphoria and immense power the absurdity of life.

  (105)

  1927: New York

  Bessie

  This woman sings her sufferings with the voice of glory and no one can listen and pretend he doesn’t hear or he’s not moved. Lungs of deep night: Bessie Smith, immensely fat, immensely black, curses the thieves of Creation. Her blues are the hymns of poor drunk black women of the slums. They announce that the whites and the supermen and the rich who humiliate the world will be dethroned.

  (165)

  1927: Rapallo

  Pound

  It is twenty years since Ezra Pound pulled out of America. Son of poets, father of poets, Pound seeks beneath the Italian sun new images, worthy accompaniments to the bison of Altamira, unknown words for talking to gods more ancient than the fish.

  Along the road, he makes the wrong friends.

  (261, 349, and 437)

  1927: Charlestown

  “Lovely day,”

  says the governor of the state of Massachusetts.

  At midnight on this August Monday, two Italian workers will occupy the electric chair of Charlestown prison’s death house. Nicola Sacco, shoemaker, and Bartolomeo Vanzetti, fish peddler, will be executed for crimes they did not commit.

  The lives of Sacco and Vanzetti are in the hands of a businessman who has made forty million dollars selling Packard cars. Alvan Tufts Fuller, governor of Massachusetts, a small man behind a big desk of carved wood, declines to yield to the protests rumbling from every direction. He honestly believes in the correctness of the trial and the validity of the evidence. He also believes that all the damned anarchists and filthy foreigners who come to ruin this country deserve to die.

  (162 and 445)

  1927: Araraquara

  Mário de Andrade

  challenges everything servile, saccharine, grandiloquent in official culture. He is a creator of words, words dying of envy for music, which nonetheless are capable of seeing and speaking everything to Brazil, and also of savoring it, Brazil the tasty hot peanut.

  On holidays, for the fun of it, Mário de Andrade transcribes the sayings and deeds of one Macunaíma, a hero with no character, just as he hears them from the golden beak of a parrot. According to the parrot, Macunaíma was an ugly black man, born in the heart of the jungle, who didn’t bother saying a word until he was six—for sheer laziness, and preoccupied as he was with decapitating ants, spitting in his brothers’ faces, and fondling his female relatives. Macunaíma’s wild adventures cover all times and all spaces in Brazil, while stripping saints of their robes, and puppets of their heads.

  Macunaíma is more real than his author. Like every flesh-and-blood Brazilian, Mário de Andrade is a figment of the imagination.

  (23)

  1927: Paris

  Villa-Lobos

  From behind the enormous cigar floats a cloud of smoke. Enveloped within it, happy and in love, Heitor Villa-Lobos whistles a vagabond tune.

 
In Brazil, hostile critics claim he composes music to be played by epileptics for an audience of paranoiacs, but in France he is received with ovations. The Paris press enthusiastically applauds his audacious harmonies and his vigorous sense of nationality. They publish articles on the maestro’s life. One newspaper recounts how Villa-Lobos was once bound to a grill and almost roasted alive by cannibal Indians while out strolling in the Amazon jungle with a Victrola in his arms playing Bach.

  At one of the many parties they throw for him between concerts in Paris, a lady asks him if he has eaten people raw, and how he liked it.

  (280)

  2927: The Plains of Jalisco

  Behind a Huge Cross of Sticks

  charge the Cristeros, rebelling in Jalisco and other states of Mexico in search of martyrdom and glory. They shout Vivas! for a Christ the King crowned with jewels instead of thorns, and Vivas! for the Pope, who has not resigned himself to the loss of the few clerical privileges still remaining in Mexico.

  These poor campesinos have just been dying for a revolution that promised them land. Now, condemned to a living death, they start dying for a Church that promises them heaven.

  (297)

  1927: San Gabriel de Jalisco

  A Child Looks On

  The mother covers his eyes so he cannot see his grandfather hanging by the feet. And then the mother’s hands prevent his seeing his father’s body riddled by the bandits’ bullets, or his uncle’s twisting in the wind over there on the telegraph posts.

  Now the mother too has died, or perhaps has just tired of defending her child’s eyes. Sitting on the stone fence that snakes over the slopes, Juan Rulfo contemplates his harsh land with a naked eye. He sees horsemen—federal police or Cristeros, it makes no difference—emerging from smoke, and behind them, in the distance, a fire. He sees bodies hanging in a row, nothing now but ragged clothing emptied by the vultures. He sees a procession of women dressed in black.