Notes on the Humanities of the
Mexican Revolution
(1910-1920)
NOTES ON THE MEXICAN
REVOLUTION
In brief, the Mexican Revolution began
when Francisco I. Madero (1873-1913) was elected President of Mexico against
the autocratic previous dictatorial president, Porfirio Díaz. A violent civil
war ensued when Madero was assassinated. The contending parties were led,
variously, by Victoriano Huerta, Venustiano Carranza, Álvaro Obregón, Emiliano
Zapata, and Francisco (Pancho) Villa. The civil war-revolution ended with the
eventual victory of Obregón. A general synoptic outline of the events of the
Mexican Revolution are found in the Mexican country notes.
NOTES ON THE NOVEL OF THE
MEXICAN REVOLUTION
The
literary genre of the novel and mural art are the two major humanistic
expressions that responded to and arose from the events of the Mexican
Revolution. In particular, both humanistic forms can be seen at the center of
movement toward regionalism that dominates Latin American humanities in the 20th
century. Another way to view this extraordinarily rich phenomenon (which is due
to a major historical event) is to say that this intense period is a transition
between Mexican naturalism that flourished at the end of the 19th
century and 20th century humanistic trends that develop out of
A parallel movement arose in
Brazil in which young intellectuals sought to move away from the Europeanizing
modernization prevalent in what, in Brazil, was called the República de los
Coroneles (Republic of the Coronels, 1889-1930). For a significant cultural
example of this movement in 19th century
In Mexico, we find that many of the political and economic principles that drove the events of the Mexican Revolution are also found in themes in the novels that arose out of this movement: violence, just redistribution of land for the peasants, nationalization of natural resources, Indians struggle for authentic citizenship, resistance against foreign economic invasion, and conflicts between traditional Catholicism and modern politics. In general, the novelists in this movement were not revolutionaries themselves; on the contrary, they tended to be pessimists, antitheorists, anti-intellectuals, fatalists who admired local caudillos (i.e., Latino strongmen or warlords), and bitter. But they all shared a strong fear of returning to the way things were before the Revolution.
Representatives of the various offshoots of the "novel of the Mexican Revolution" are: (1) Indian-centered narratives (narrativa indianista) as in some of the novels produced by Gregorio López y Fuentes; (2) socio-political protest literature (José Revueltas); (3) provincial focus literature (José Rubén Romero, Agustín Yáñez, and Juan Rulfo). One other offshoot of this literary movement can be seen in novels about the Cristero revolt (1926-1929) as in, for example, Pensativa by Jesús Goytortúa (1945).
Mariano Azuela (1873-1952). This Mexican intellectual was a liberal
medical doctor, and he was a talented humanist and writer. He was thoroughly
opposed to the Porfiriato (the dictatorial régime of Porfirio Díaz), and he
also opposed General Huerta,
who, at the beginning of the Mexican Revolution, commanded Madero’s
federal forces in order to fight against the leftist revolutionaries Villa and
Zapata. In 1913, Huerta concluded a conspiracy with a golpe de estado (coup d'état) against Madero by ordering Madero
executed. Azuela then joined the federal constitutionalist forces of General
Carranza until the latter was assassinated in 1920. After the Revolution,
Azuela withdrew from direct political activity. His early works were generally
written in the naturalist mode that dominated Mexican cultural expression
before the Revolution. His most important work is Los de abajo (1916; The
Underdogs). In this and later works, he demonstrates his talent for keen
observation of social reality. At the same time, as a representative Mexican he
portrays the Catholic Christian aspects of the Mexican character and social
institutions. Los de abajo
dramatically chronicles the progressive march of the Mexican people toward
social maturity, but, at the same time, he highlights the quasi-mythical
destiny of la raza mexicana (the
Mexican people in their ethnic identity) with its inherent strength of
character and its age-old stoicism in the face of defeat. This novel,
therefore, deploys a tone of bitter despair and the pathos of heroic failure.
It is, in sum, an anti-epic that shows the heroism of the collective will of
the raza mexicana.
Martín Luis Guzmán (1887-1967) was perhaps the most prominent prose
chronicler of the Mexican Revolution. He worked in the intellectual and
humanistic fields of mural art, journalism, politics, and law. He personally
lived the events and traumas of the Mexican Revolution from beginning to end
and beyond. He earned his living as the director of several world-class
newspapers: El Sol (
José Rubén Romero (1890-1952) was a Mexican ambassador to various countries, and he was also an autobiographical novelist. In his most renowned work, La vida inútil de Pito Pérez (1938), he projects a provincial, Christian, Mexican middle class point of view that demonstrates a pious care for the underpriviledged. Romero evokes provincial life along the Michoacán coast via descriptions of typical people, customs, and places.
Gregorio López y Fuentes (1897-1975) was the son of a shopkeeper.
He was a teacher, journalist, and novelist who fought with Mexicans against the
American invasion of
NOTES ON THE ART OF THE
MEXICAN REVOLUTION
Diego
Rivera, David Alfaro Siqueiros, and José Clemente Orozco are the three major muralists
who dealt intensely with themes relating to the Mexican Revolution. For notes
on Diego Rivera, see: => Diego Rivera. For notes on Siqueiros and Orozco,
see: => Notes on Mexican Muralism.