I've been in remiss in logging our Hum 110 reading/viewing for the second half of the year! As previously mentioned, we centered our studies on Mexico City this last year. The material blogged here runs from the seventeeth century through the near-present, and took us half of an academic year to cover.
Sor Juana Ines de la Cruz (trans. Margaret Sayers Peden), Poems, Protest, and a Dream, (late seventeenth century / 1997)This was a fascinating collection of works. Sor Juana was both a courtier and a nun (at different times), and this collection samples both eras: at the one end we have secular diss poems and show-off pieces composed for competitions, while the other end includes a virtuoso defense of scholarship by female clerics and education for women. (The defense is the titular "Protest", which is a politically complex work in which Sor Juana responds to a rebuke by a church official
who himself took on a female pseudonym for the purpose of chastising Sor Juana. Sor Juana then proceeded to play a "tee-hee, we're all just girls here" card while absolutely eviscerating the man -- while keeping up her own pretense of subjecting herself to church authority.) There's also a complex interplay between new world and old world symbols and signifiers in these works, which reflected tensions over whether New Spain or the Iberian Peninsula was the true center of the empire. Also, shoutout to the lesbian poem: we were very pleased to see it.
( III: One of Five Burlesque Sonnets )Spanish and English on facing pages, for the convenience of the multilingual.
H.N. Branch (trans), The Mexican Constitution of 1917 compared with the Mexican Constitution of 1857We leapt from the seventeenth century to the nineteenth and twentieth century, which was an unbelievable degree of whiplash: I had soooooooo many Britannica tabs open, trying to figure out what was going on with the century-plus of revolutions, counter-revolutions, deposings, assassinations, the Mexican-American war, and oh yes, the brief installation of an emperor again (by France, when the US was too busy with its own Civil War to meddle).
Discussion this month was mostly trying to get a grasp on the history and the problem of cultivating a stable government. But we also had a
lot of admiration for the 1917 Mexican Constitution, which was extremely forward thinking in terms of labor rights, up to and including things like worker safety, union protections, and paid pregnancy leaves. (The seething envy in the room could be cut with a knife!) Surprisingly to us, the 1917 Constitution was also strongly anti-Catholic, seizing Church property and mandating secular (and universal!) education. (The weakening of the Church's power led to a few more years of revolution, of course, as pro-Catholic forces objected to that part of the Constitution.)
Mexican Murals: Diego, Orozco, and Sisquieros (1920s-30s) (online gallery)David Alfaro Siqueiros, Diego Rivera, and Xavier Guerrero, "Manifesto of the Syndication of Technical Workers, Painters, and Sculptors," (1923-1924)Cool art! Also, interesting things to discuss re auteur's vision vs. government propaganda; the radically ethno-nationalistic and peasant-centric vision of Mexico (vs. the context of European-trained artists who had been working in the U.S. for a living, and all painted on urban buildings, not so easily accessible to the rural peasantry); and murals as a public form of art (in contrast to easel painting).
Los Olvidados | The Forgotten Ones | The Young and the Damned (1950, dir. Luis Buñuel)Cesare Zavattini, "Some ideas on the Cinema" (1953)Realist film about life in the economic/criminal underclass of Mexico City. The original cut of the film depicts the inescapability of the circle of violence, but that ending played badly to test audiences, so a second, "happy" ending was filmed, in which the child protagonist slays his abuser (instead of being slayed
by him), and returns to reform school. (Yay?)
( discussion )All that said, I kinda enjoyed... maybe not
watching the film, but having watched it? There was a lot of toothy chewy shit going on in and around the film, and it was satisfying to discuss, at a number of different levels.
Available on youtube with English subtitles, if you're interested.
José Emilio Pacheco (trans. Katharine Silver), Battles in the Desert (1980)Novella of a man's remembrances of a specific year of his childhood, when he fell in love with his best friend's mother, and her ultimate erasure from (apparently) all memory and record but his own.
( A LOT going on )We discussed this one to death and came to no agreement on it, but I can say it was one of the most enthusiastically discussed works of the unit.
Elena Poniatowska (trans. Helen R. Lane), Massacre in Mexico (1971 / trans. 1975)( content warning for state violence, including massacre, imprisonment, and torture )It's a powerhouse of the book, although most in my book group did not read it, or only read sections of it, because of the violence it relates. I found that frustrating, for in addition to discussion of the content, there's also ample opportunity to discuss the format of the book: how does one take reams of interviews and publicize their content, especially before one could dump a massive file of sources on the internet? How does one handle the vagaries of eyewitness accounts, the multiplicity of viewpoints, the uncertainty of memory, and conflicting testimonies? How does one do all this under a hostile government, that would much rather see your book suppressed than published? I'm a little reluctant to call this book my favorite of the course, given how challenging its content was, and yet it was definitely the one I found most
rewarding, both to read and to discuss. Excellent choice for capstone of the Mexico City unit!