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peasants must establish in order to resist the
Spanish conquerors. McCrary contends that the purpose of a revolution is to reject the identity of the colonizer, but in order to do this âsome sort of unified identity is necessary for a group to revolt successfullyâ (McCrary 31). The pre-colonial Aztec is embodied by Demetrio MacĂas because he is connected to both his ancestors and the land. Demetrio is depicted as âriding proudly on his horseâ with âpure-blooded Aztec cheeksâ, however, Demetrio âseems devoid of any defined identityâ because he never acknowledges a greater reasoning to his involvement in the revolution other than either revenge or satisfaction in being the revolutionaries' leader (Azuela 72). This illuminates that Azuela may care about the revolution more than the characters do. McCrary further explains that on page seventy-two of the novel, Macias and his âmen threw out their chests as if to breathe the widening horizonâ and the âimmensity of the skyâ illustrating how Demetrio's freedom is connected to the earth itself and that Demetrio is a legitimate inhabitant of the land. Furthermore, the sense of freedom that Demetrio and the Mexican men feel on the land serves to âdistance them from their oppressed identities as colonized beingsâ because they immediately forget their bleak lives as conquered peasants (36). By depicting Demetrio as a pure-blooded Aztec, Azuela reveals that he as an author is âdispleased with the current, colonized identity of his peopleâ and wishes to reconstruct a strong Mexican identity before it had âbeen influenced by the Spanish colonizersâ (37). As a result, Azuela emphasizes the consequences of colonization because Demetrio is âso far separated from his own heritage and identity that he does not even recognize it consciouslyâ (39). When Demetrio begins to forget his identity it results in âpetty fighting, looting, and anarchyâ (34). Azuela emphasizes Demetrio's heritage so that readers understand what is at stake if cultural identity is lost.
305:(Kanellos, 105). In describing Azuela as a âchroniclerâ, Kanellos immediately highlights one important feature of Azuela and his work, which is his tendency to record and portray history. In highlighting Azuela's relationship between history and literature, Kanellos establishes the inseparability of political and global contexts within Azuela's literary works; for example, Azuela's novel âThe Underdogsâ recounts the events of The Mexican Revolution from the perspective of the rebel soldiers. Therefore, Kanellos emphasizes the existing relationship between history and its involvement in Azuela's work. Kanellos then describes the reason as to why Azuela's literary works are deeply infused with Mexican politics and history stating, âAzuelaâs early career as a writer, in fact, was developed while participating in the Revolution first-hand as a physician in the army of Francisco âPanchoâ Villaâ (Kanellos, 105). The terms âfirst-handâ and âparticipatingâ underscore Azuela's physical involvement in the war. Kanellosâ use of the word âdevelopedâ then underscores the manner in which Azuela's physical involvement paved the way for his writing to grow and mature as a result of his experiences participating in the Mexican Revolution. Kanellos stresses in his encyclopedic entry the persisting role of history and its portrayal in Azuela's work, but he also emphasizes the manner in history, in particular the Mexican Revolution, essentially birthed Azuela's writing career.
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234:
to a small, but successful rancher, Evaristo Azuela and
Paulina Azuela, on January 1, 1873. He grew up in a small farm owned by his father, which later influences the settings in many of his fictional works. He was first admitted to a Catholic seminary at the age of fourteen, but soon abandoned his
304:
In his encyclopedia entry âAzuela, Mariano (1873-1952)â, NicolĂĄs
Kanellos underscores Azuela's physical involvement in the war, and its influence on Azuela's literary career. Kanellos begins by describing Azuela as, âone of Mexicoâs greatest novelists and chroniclers of the Mexican Revolutionâ
316:
In Margy McCrary's article, âThe Aztec
Connection: Exploring the Construction of Azuela's Revolutionaries in The Underdogsâ, she examines the description of Demetrio as a âfull-blooded Aztecâ. She argues he gains authority over the land, and constructs a cultural identity where he and Mexican
160:) in 1909. The theme of his beginning novels are about fate. He wrote of the social life of Mexicans during the DĂaz dictatorship. After experiencing the Mexican Revolution first-hand, his writing style became sarcastic and disillusioned. His first novel with the Revolution theme is
336:, where he gave lectures on Mexican, French, and Spanish novelists, and on his own literary experiences. In 1949 he received the Mexican National Prize for Arts and Sciences. He died in Mexico City March 1, 1952 and was placed in a sepulchre of the PanteĂłn Civil in the
296:) depicts the futility of the Revolution, the opportunists in power, and the underprivileged majority of his country. He fought for a better Mexico, and he believed the Revolution corrected some injustices, but it has given rise to others equally deplorable.
219:
859:
Kanellos, NicolĂĄs. "Azuela, Mariano (1873â1952)". The
Greenwood Encyclopedia of Latino Literature . Ed. NicolâĄs Kanellos. Santa Barbara, CA: Greenwood, 2008. ABC-CLIO eBook Collection. Pg. 105.
850:
Kanellos, NicolĂĄs. "Azuela, Mariano (1873â1952)". The
Greenwood Encyclopedia of Latino Literature . Ed. NicolâĄs Kanellos. Santa Barbara, CA: Greenwood, 2008. ABC-CLIO eBook Collection. Pg. 105.
210:, published posthumously) in 1955. These works mainly depicts the satirical picture of life in post revolutionary Mexico sharply and angrily stigmatizing demagoguery and political intrigue.
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of 1910. He wrote novels, works for theatre and literary criticism. He is the first of the "novelists of the
Revolution," and he influenced other Mexican novelists of social protest.
254:, Azuela wrote about the war and its impact on Mexico. After Porfirio DĂaz was overthrown in 1911, Azuela served as state Director of Education of Jalisco under President
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121:(January 1, 1873 – March 1, 1952) was a Mexican writer and medical doctor, best known for his fictional stories of the
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695:(1963). Frances Kellam Hendricks and Beatrice Berler, Trans. San Antonio, Texas: Principia Press of Trinity University. (
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In 1942 he received the
Mexican National Prize for Literature. On April 8, 1943 he became a founding member of Mexico's
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cause, which sought to restore the rule of law. He traveled with the military forces of JuliĂĄn Medina, a follower of
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709:(1979). Frances Kellam Hendricks and Beatrice Berler, Trans. San Antonio, Texas: Trinity University Press. (
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where, for the rest of his life, he continued his writing, and worked as a doctor among the poor.
182:) in 1915. He continued to write short works and novels influenced by the Revolution. It includes
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669:(1932). Anita Brenner, Trans. New York: Farrar & Rinehart, Incorporated. (A translation of
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Among Azuela's first published writing were some short pieces for the magazine
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in the
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679:(1956). Lesley Byrd Simpson, Trans. Berkeley: University of California Press.
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Like most young students, Azuela was opposed to the dictatorship of the
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The
Mexican Revolutionâs Effect on Mariano Azuelaâs Writing Career
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258:. Following Madero's 1913 assassination, Azuela joined the
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at the Colegio Nacional, MĂ©xico. Re-accessed Sept 9, 2005.
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were temporarily triumphant. It was there that he wrote
276:) (1915). He later was forced for a time to emigrate to
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874:That appears to have been drawn largely from his
38: and the second or maternal family name is
482:San Gabriel de Valdivias: Indigenous Community
653:Partial list of works translated into English
104:Writer, literary critic, medician, politician
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478:San Gabriel De Valdivias: Comunidad Indegena
891:Website for 2015 Azuela Conference at CSULA
677:Two Novels of Mexico: The Flies. The Bosses
280:, when the counterrevolutionary forces of
235:religious studies. He studied medicine in
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689:, Trans. New York: New American Library.
458:Las tribulaciones de una familia decente
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969:People from Lagos de Moreno, Jalisco
867:This article partially draws on the
693:Two Novels of the Mexican Revolution
711:The Trials of a Respectable Family,
697:The Trials of a Respectable Family,
462:The Tribulations of a Decent Family
406:Andrés Pérez, a Supporter of Madero
144:, was written in 1907, followed by
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172:) in 1912, and his most popular,
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663:(1929). New York: Brentano's.
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140:) in 1896. His first novel,
134:Impresiones de un estudiante
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119:Mariano Azuela GonzĂĄlez
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788:www.elem.mx
628:The Firefly
618:The Revenge
614:El desquite
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386:The Winners
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327:Mexico City
241:Mexico City
237:Guadalajara
190:) in 1937,
142:Maria Luisa
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671:Mala yerba
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591:Precursors
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564:Esa sangre
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392:Mala yerba
376:The Losers
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154:Mala yerba
101:Occupation
608:Evil Hour
558:The Curse
452:The Flies
208:The Curse
194:in 1939,
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725:See also
685:(1963).
508:Advanced
504:Avanzada
412:Sin Amor
396:Bad Weed
166:Sin Amor
96:, Mexico
40:GonzĂĄlez
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907:at the
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626:(1932,
616:(1925,
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36:Azuela
498:Child
158:Weeds
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