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In the title story
of Rudolfo Anaya’s new collection, “The Man Who Could
Fly,” Don Volo, the storyteller of the story within a
story, proclaims he was there, “at that moment of magic,” when the impossible
became possible. The revelation of Don Volo’s identity at once bolsters the belief in the
impossible and ushers in the moral of the story: storytelling can clarify the
most important human questions; storytelling can possess a moral purpose.
In The Man Who Could Fly and Other Stories
(
In “The Silence of
the Llano,” Rafael is an orphan, and is surrounded by a bleak, inscrutable
landscape of silence. A young woman, not
initially named, seeks him out, and finally delivers him from his
oppression. But during childbirth, the
woman dies, and Rafael returns to his silence and neglects his new daughter. Soon the man’s self-obsession and
self-enervation prompt him to abandon his daughter when she most needs
him. Rafael returns, but only when he
has forsaken the silence that was so much a part of him.
Again, in “The Road
to Platero,” Anaya’s target is the destructiveness of
man’s machismo. But this time the story
also focuses on a mother’s warped hero-worship of her abusive father, which
only encouraged his machismo, and on the mutual manipulation between a mother
and a father who both hide a terrible secret from the son. In contrast, the story “Iliana
of the Pleasure Dreams” depicts Iliana as the source
of dreams and mysteries and a redemptive sexuality, while the man, Onofre, is simple, abrupt, and silent. Between the couple is a chasm, until they
find a way to share their dreams.
Other stories delve
into the magical and spiritual world of the Mayas and the Incas.
Two stories focus
on the elements and magic of storytelling itself. Characters plead to be included in the story
of "A Story," as the writer wrestles with characters he can hardly
control. And in "B. Traven is Alive
and Well in
Rudolfo Anaya's stories remain essential for readers and
writers because they remind us of what we have forsaken in our modern world,
what will always be philosophical questions at the heart of our humanity, and
why storytelling should have a moral purpose.
Not to pontificate. Not for
nostalgia. But stories should have a
moral purpose to illuminate the magic of life: the eternal links to heritage
and history, and the human desire to hope and to create in a world otherwise
desolate and silent.
This newspaper
article appeared in the Sunday Books section of the El Paso Times on