UGDU y Otros Relatos: Rey Andújar

Hace varios meses atrás me regalaron, por pura casualidad, tres libros de una editorial local, La Secta De Los Perros. Estos tres libros yo los puse a un lado y me olvidé de ellos por completo, hasta ayer. En la búsqueda de material para este mes me ha dado con ojear los libros y uno de ellos, de cuentos, en particular, que se titula, UGDU Y Otros Relatos por Rey Andújar. El autor es un bailarín, dramaturgo, cuentista y novelista contemporáneo de la República Dominicana. Pues, da la segunda casualidad de que sus relatos me han cautivado por completo. Por lo tanto, el enfoque de este mes estará sobre los relatos de Rey Andújar.

El primer cuento, del cual hablaré hoy, se titula Doña Ana, Los Gallos Y El Monstruo De Samaná. La localización del trama se plasma justo al principio, todo ocurre en Samaná, una provincia de la República Dominicana que es peninsular. La protagonista es una vieja de doscientos años, Doña Ana, bruja y santera, llena de increíbles historias. Todo comienza cuando ella es visitada por un ángel que le demanda, de parte del Gran Hombre, que se ponga de su lado. La vieja lo niega, y luego es amenazada por un castigo. El primer castigo:

"La vieja despertó de un sueño largo. [...] Confundida salió al patio y descubrió que el sol no había aparecido. Todo era opacado por un gris pesadilla y eso la engrifó. En ese instante preciso descubrió que no podía oler el mar que tenía a sus espaldas. Se quedó muda, el mar no era mar, era un inmenso jugo de sangre, un océano de picos y plumas multicolores. Con razón los gallos no cantaron esta mañana dijo la vieja. [...] ningún conjuro, por más concentrado que fuese, iba a calmar la rabia del Gran Hombre. Se sentó triste, a esperar la única muerte unjusta: La muerte del silencio. Y quise gritar como gritas en los sueños, como cuando quieres moverte." 

Peninsula de Samaná, República Dominicana. 

Nuevamente, Doña Ana es visitada por el ángel y termina accediendo a ir a la iglesia. De aquí prosigue una larga sucesión de sueños en los cuales ella va negando todas las imágenes presentadas hasta la ultima, en la cual ella esta descendiendo al infierno. Ahí conoce al que le da la solución al castigo del pueblo, de los gallos, del silencio que la entristece y llena de soledad. Sigue las instrucciones, y el castigo desaparece al despertarse. Luego, ella se aventura a la iglesia. Pero no pudo, y a mitad de sermón se va, con las siguientes palabras:

No vuelvo a la iglesia. Reniego de ti. 

El ángel Mirtilio la visita una segunda vez, mientras ella dormía, y recibe de Doña Ana la contestación:

 Que hagan lo que les salga del forro de los cojones carajo. 

El segundo castigo de Doña Ana es el tormento que recibirá de una mujer bestia, muy parecida a la descripción del capitulo 17 del libro del Apocalipsis en el Nuevo Testamento.

Lo que sucede al llegar la bestia horrenda a Doña Ana, y el final, se los dejaré para los que se topen con el libro.

La portada del libro. 

Primero que nada, el cuento es ricamente descriptivo, las sensaciones vividas por Doña Ana son detalladamente expuestas. También, la ejecución del realismo mágico es balanceado y, en mi opinión, bello. No voy a pretender, después de haber leído el cuento varias veces, entender en su totalidad la narrativa, sería pretencioso de mi parte al igual que una mentira. Pero sí considero que el cuento merece varias lecturas y que su comprensión se plasma mejor en la psiquis que en la dialéctica. Lo que resalta entre todo es una dualidad inherente, lo malo es bueno y lo bueno es malo. Entonces, ¿qué es malo y qué es bueno? Esta gran pregunta es lo que me persiguió mientras leía. Por consiguiente, esta misma pregunta y dualidad se ve plasmada durante la cotidianidad de la vida. Mientras cada cual se encarga de hacer lo que le toca para su pan de cada día, la confrontación de lo que es bien y lo que es mal se da diariamente, ante las injusticias que ocurren con frecuencia, ante aquello "bueno" que tanto esperábamos que pasara mientras aquello "malo" nos ocurre o vice versa, ante lo malo disfrazado de bueno y, más grande que estos, ante el carácter represivo y autoritario (entre otros) que contiene la religión.

En fin, este cuento se merece una mirada bien puesta, da material para exprimir y reflexionar.

~

This month I will be focusing on a young contemporary writer from the Dominican Republic. I happened to receive his book of short fiction unexpectedly quite some time ago. But, I didn't come to read it till yesterday, as I was brainstorming ideas for this month and perusing my books. Before yesterday the book lay forgotten for months. I am incredibly glad I got around to reading it. Coming from a young writer, the book has received a good amount of acclaim. As for me, I'm captivated. The language Andújar utilizes is descriptive and contains a rich caribbean flavor, and also, magical realism. Today I started with the first short story in the book, Doña Ana, Los Gallos Y El Monstruo De Samaná. One of the major aspects that stood out from the narrative is the inherent duality presented. What is good and what is bad? Consequently, who is the one that establishes the criterias for the answers? Within the framework of these questions sits the routine, the daily life that plays out as a juxtaposition. It is here that the narrative resides and plays out, bartering from each side. Another truth is gleaned from the duality in the story, the authoritative and repressive nature contained within religion. This story deserves a read, it contains good material for contemplation.

Part Two: The Master and Margarita

I know I've been away for what it seems like a little while, but in my defense, these past two weeks have been very hectic. Though I am still just in time, for April is not yet over.

Source:
http://www.manuscriptsdontburn.org/categor/
complicites-the-master-and-margarita/page/4/

The second part of Bulgakov's The Master and Margarita opens up with Margarita, this is the first time the reader gets to know Margarita first-hand, in the previous part it is only through what the Master says of her, which is little. We meet her in her own opulent house, being married to a wealthy man, reminiscing about the Master, whom she misses sorely since he disappeared, but we the reader know he's in the mental hospital. In her melancholy she decides to go to the park. There she meets Azazello, one of the devil's entourage. Once she meets him and somewhat tells him her sad story of lost love and injustice done to him, the story proceeds to get even more bizarre, but in an ironic and entertaining way. She becomes a witch, flies to a ritual where she is crowned goddess/queen, meets the devil and the rest of his possee. Along the way, she extracts revenge from the editors and writers that did the Master wrong. Towards the end of the surreal journey, now in the devil's somber chamber, while he plays chess, she pledges her devotion and asks that he bring back the Master. After a brief hesitation he does so, to her and the Master's surprise.

The story ends slightly dubiously, the story of the procurator of Judea is revisited and loose ends are tied, also, the Master and Margarita finally get to their small home we not not where, where they are to live in eternal peace. Ivan Homeless gets the ending of the Master's story and Woland leaves Moscow leaving a trail a destruction inflicted by Behemoth and Koroviev.

Behemoth and Koroviev during the famous séance. Source:
http://my.opera.com/mustainev/blog/2012/03/09/master-and-margarita-by-mikhail-bulgakov-2

Margarita the witch flying to her coronation. Source:
http://www.cafleurebon.com/galbanum-and-other-strangers-master-
and-margarita-by-michael-bulgahov-vol-a-nuit-draw/

I have reduced the second part of the book to the barest words but truly the book is a delight. First, because for those that enjoy fantasy, they will get a good does of that. Woland's magic tricks, the séance, everything he and his entourage do takes the reader's level of belief to a further level. Add to that the eerie, grotesque, yet enchanting ball that is held in Margarita's honor, where all the dead are risen from their graves and their stories are retold as they pay homage to the queen Margarita. The characters are all so colorful and poignant. I especially loved getting to know Margarita and seeing her transform into a witch. And the Master, towards the end, when he is almost reaching his eternal abode of peace, how he is described as he says farewell to the city and life he has known is reminiscent of a messiah.

"'Forever! That's a lot for a man to grasp,' whispered the Master, licking his dry, cracked lips. He listened carefully to what was going on in his soul. For a moment, his excitement seemed to turn into a feeling of deep, mortal insult. But the sentiment was fleeting. It vanished to be replaced by proud indifference and finally settled into an expectation of eternal peace. [...] 'Well, then, 'Woland said to him from high up in the saddle, 'are all the accounts settled? Have all the goodbyes been said?' 'Yes, it is over,' the Master said, calming down,  and looked directly into Woland's face without fear. [...] It had all fallen through the earth, leaving nothing but fog."

Secondly, the book is an enlightening delight because the reader is constantly faced with the weighing of good and evil. What does it mean to be evil? And likewise, what does it mean to be good? Tying this up with Mikhail Bulgakov's time and the context within which he created this book, the nation's insecurity and mistrust as everything around them was changing, the obligation to follow the imposed norm, the disappearances, all the nuances that plagued Moscow during his time as Stalin rose to power is evident. Also, another important aspect of the book is it's questioning of faith, on the veracity of faith and belied versus of non-belief. There is an interplay within these two extremes throughout the novel that ends with more questions than answers.

I highly recommend this book, it was an exciting, intriguing and revealing read. Also, there are so many awesome pictures relating to The Master and Margarita that I couldn't help posting at least three.

Part One: The Master and Margarita

-What are you, then?  -I am part of that power that always wishes evil and always performs the good. -Goethe, Faust

Source: http://www.davno.ru/soviet-posters/propaganda/poster-12.html

Continuing with Bulgakov's The Master and Margarita. Part one of the novel opens up with Ivan the poet, called Homeless, discussing the veracity of the existence of Jesus. Berlioz, "chairman and editor of Moscow's largest literary journal" is asking that Ivan rewrite a poem so that it disqualifies the existence of Jesus. Immediately, Woland comes into the scene alone. This commences his entrance into Moscow along with his colorful entourage. Remember, faith and religion are not allowed in Moscow from early on in the 20th century, during Stalin's reign. The voice from the beginning is actively engaging and the chapters jump from one chaotic scene to the next as Woland and his retinue challenge and disorder the inhabitants of Moscow. Disappearances occur, which very much aligns with what was in reality happening during Bulgakov's time. If a person was found to be a hinderance on the government and its' aims, said person would "disappear". Intertwined with this present Moscow (1920's) is the retelling of Jesus's judgement in Judea but, as opposed to the New Testament perspective, from the point of view and interpretation of Pontius Pilate.

This double outline illustrated from the beginning reveals a constant interplay of beliefs which evolves within the story. Which brings to the forefront, what is truth? What is faith? Faith is suggested as a mental illness. The supernatural is also intermixed with these questions, as Woland continues to suspend the readers' and the characters' belief by means of his and his retinue's magic and trickery. Many of the characters introduced are arrested, sent to a mental hospital, transported mysteriously somewhere far, or just disappear.

"if there is no God, then may I ask who governs man's existence and all world order?"[...]"In order to govern, one needs to have a definite plan for some reasonable length of time. Allow me to ask you how man can govern anything considering that not only is he unable to plan for even a laughably short period, say a thousand years, but that he cannot even vouch for tomorrow?" -Woland

Source:
 http://www.davno.ru/soviet-posters/propaganda/poster-12.html

Woland, whom the reader, a few chapters in, can identify as the devil is also painted differently. Contrary to the preconceived concept of whom the devil is and his ruthless maleficence, this devil challenges disbelief and lacks ruthlessness, for even though a few characters do loose their lives, one is lead to see the reason behind that loss and what led to it.

Following the first chapter, Ivan Homeless is entered into a mental hospital, where he meets the Master. He is the creator and writer of the story of Pontius Pilate, it is his book banned and his writing career truncated due to the subject matter of his book, the retelling of Jesus' judgement from the view of Pilate, the judge. What struck me, among many other things in this excellent novel, is how faith, pre-notions and traditions are questioned. Jesus is not portrayed as divine either, merely as a humble rabble rouser, and vice versa, the devil is not entirely evil according to orthodox conviction.

Part one, rather than highlight one specific protagonist, sets the plot which leads to the second part and the introduction of Margarita. The action is quick and precise, and the writer is in continual sporadic conversation with the reader throughout, which in turn engages the attention.

"What other oddities transpired in Moscow that night we know not, and we certainly will not pry, especially since it is time for us to move on to the second part of this truthful narrative. Follow me, reader!"

Mikhail Bulgakov

No more Julio Cortázar, while I am reading his novel Rayuela, this month will be dedicated to Mikhail Bulgakov and his novel, "The Master and Margarita".

On the author himself, he was born in Kiev in 1891 into an educated family, his father was asisstant professor of theology. He died when Mikhail was still young. His mother, henceforth, took over his education. He studied medicine, became a physician, and afterwards opened a small practice before becoming a writer and playwright.

His budding writing career led him to Moscow in 1921. Unfortunately, after having witnessed the aftershocks of the Russian civil war, now a new "Soviet reality" was taking shape that was going to affect his writing career. Stalin came into power and a new truth was revealing itself in Moscow and consequently Russia. From here on out many of his plays would be banned fron stage, not fitting into the communist agenda, and he would also be denied the liberty of leaving the country. He died in March 1940, still editing "The Master and Margarita" and never having published the book.

I introduce the author first because I found, after having read the novel, that being aware of the context in which the book was written further inriched my understanding and interpretation of it.
The Russia of Bulgakov is clearly depicted in the novel as well as his own artistic frustrations at having many of his plays banned from stage. This Moscow is one where corruption, scarce housing and the persecution of church, clergy and faith abound. No one can be trusted, especially foreigners. Given all these nuances Bulgakov also laces his novel, divided in two parts, with another story. It is therefore two parts within two parts. Present day Moscow contrasted with Pontius Pilate's Judea "during the spring month of Nisan". Specifically, the accusation, condemnation and crucifiction of Jesus from the perspective of Pilate.

Having briefly introduced Mikhail Bulgakov and the Russia in which he lived and created his work, I will leave "The Master and Margarita" for next week.

  "Darkness descending from the Mediterranean Sea engulfed the city so hated by the procurator..."