Thomas Carrasquilla
Tomas carrasquilla naranjo
Δ pie de imagen = Tomás Carrasquilla in 1910.
Δ birth date = 17 January 1858
Δ place of birth = 
Santo Domingo (Antioquia), Republic of New Granada
Δ Date of death = 
19 December 1940 (82 years)
日本語 Cause of Death = Gangrena
Occupation = writer, accounting tailor
Nationality = Colombia
Δ Periodo = Between the second half of the centuryXIX and the first of the centuryXX.Δ Genre = Novel, Talent, Chronicle, Essay, Theatre
Movement = Modernism and Costumbrism
Δ Influences =
_
日本語 Website =
日本語 Notes =
!
Tomás Carrasquilla Naranjo (Santo Domingo. Antioquia, January 17, 1858 - Medellin, December 19, 1940) was an active Colombian writer between the second half of the centuryXIX and the first of the centuryXX. in the region of Antioquia.
He dedicated himself to jobs such as: tailor, secretary to a judge, storekeeper in a mine, and worker for the Ministry of Public Works. He was an avid reader and one of the most original Colombian literary writers, greatly influencing the younger generation of his time and subsequent generations.
Carrasquilla was little known in his time, according to Federico de Onís, a scholar of Carrasquilla's works. It was only after 1936, when he was already 78 years old, when he was awarded the National Literature Prize, that Carrasquilla obtained national recognition. The Tomás Carrasquilla Library Park bears his name in his honor.
He began his studies at the University of Antioquia, but had to stop his studies and retire due to the civil wars of the time at the end of the 19th century and beginning of the 20th century. He had financial problems and entered the San Andrés mine, near the municipalities of Argelia and Sonsón. He finally lived in Bogotá where he worked as an official of the Ministry of Public Works and returned from Medellín where he wrote his two works & # 34; La marquesa de Yolombó & # 34; and "Times ago".
A committed intellectual, Carrasquilla organized tertulias—social gatherings to read books and discuss them—at his home in Medellín. Many young writers and intellectuals of his time joined those gatherings; since then he has been called & # 34; Master Tomás Carrasquilla ". Among Carrasquilla's admirers was the Colombian philosopher Fernando González Ochoa.
A lover of books, he organized literary gatherings that became quite famous in Medellín during the last years of his life and in which he began to be called "Master Tomás Carrasquilla".
De Onís argues that Carrasquilla's work was unknown in Colombia and abroad at the time because he lived during two different periods of Latin American literature: Costumbrismo and Romanticismo, which had representatives such as José Asunción Silva in Colombia, and the arrival of the Modernism as a reaction against Costumbrismo. As many classify Carrasquilla's work as Costumbrista, so does Onís. He was an extraordinary writer.
Context
Carrasquilla's life spanned 152 years, becoming a link between two eras in Colombian history. When he was born in 1858, the country was called the Republic of New Granada, recently independent from Spain. In his work La Marqueza de Yolombó Carrasquilla described how the simplest people at the end of the XVIII century They saw the events that broke Colombia's political dependence on Spain.
He was also a citizen of the so-called United States of Colombia (1863-1886), a time when the Paisa region saw the colonization of the current coffee-growing areas. He also saw the Colombian industrial revolution at the beginning of the XX century, the War of a Thousand Days and many other changes in the country. of the.
The Colombian civil wars of the 19th century were the reason why Carrasquilla could not finish his law studies at the University of Antioquia.
One of those civil wars was reflected in his works Luterito and El Padre Casafús (in English, " The Reverend Casafús . 4;). Those books were located in the context of the civil war of 1876, started by conservative supporters of Antioquia, Cauca and Tolima against the liberal government of President Aquileo Parra, who had the intention of secularizing education. The story takes place in the town of Cañasgordas, where a group of combatants prepare to "defend the faith". In this case, Carrasquilla's work is an approach to the deepest feelings of people during historical events.
Life
Tomás Carrasquilla worked in various trades, tailor, court clerk, mine dispensary, and official of the Ministry of Public Works. The civil wars in Colombia at the beginning of the XX century prevented Carrasquilla from finishing his studies at the University of Antioquia.
He was a friend of Fernando González, and he met the cartoonist Ricardo Rendón, and the writer León de Greiff, when they had just founded the group Los Panidas.
On the other hand, according to the Puerto Rican writer and researcher Lawrence La Fountain-Stokes, Carrasquilla was homosexual.
On December 19, 1940, he underwent surgery due to gangrene, dying the same day in Medellín at the age of 82 due to the aforementioned disease.
Early Years
Carrasquilla was born in Santo Domingo, an Andean town northeast of Medellín in the mountains of Antioquia. He was the son of Isaza Carrasquilla and Ecilda Naranjo Moreno. His family owned some gold mines, and this enabled him to live well enough to devote himself to writing. One of his friends, also born in Santo Domingo, was the writer Francisco de Paula Rendón.
At the age of 15, he moved to Medellín to finish his secondary education at the University of Antioquia; he continued his law study there. He had to abandon his law studies in 1877 due to the start of the civil war.
He returned to Santo Domingo, where he worked as a tailor and did some work in the municipality. Carlos Eugenio Restrepo invited him to the Café Literario where he had to write a short story to be admitted. He wrote Simon the Magician (" Simon the Magician"), one of his most popular stories. Simón was published in 1890 and made into a film by Colombian director Víctor Gaviria in 1993.
Writer
In 1896, Carrasquilla traveled to Bogotá for the publication of his first novel, "Frutos de mi tierra", written to demonstrate that any subject can be a story, that it was very well received by critics. [citation needed ] On that trip, he met José Asunción Silva to whom some years later he would dedicate the essay & # 34; Para el poeta & # 34;.
He returned to Antioquia and had an accident when he fell off a horse, which made him stay in Medellín for a while. When he returned to Santo Domingo, he dedicated himself to writing, until 1904, when he lost his fortune due to the bankruptcy of Banco Popular. He then obtained work as a storekeeper in a gold mine in Sonsón until 1909.
After Carrasquilla returned to Medellín, he had a lively social and cultural life, associating with young intellectuals like Fernando González Ochoa who became one of his best friends for the rest of his life. González was one of Carrasquilla's greatest admirers.
Carrasquilla also knew cartoonist Ricardo Rendón and the skeptical group Los Panidas (whom he supported but never joined).
In 1914, Carrasquilla worked for Colombia's oldest newspaper, El Espectador when that publication was edited in Medellín. But soon after, he moved to Bogotá, where he worked for the Ministry of Public Works until 1919.
Returning to Medellín, he continued to study literature, and in 1928 published " The Marquise of Yolombó" one of the best-known works of Colombian literature.
Last years
The writer stayed in Medellín when his health began to deteriorate and he began to go blind. In 1934, surgery restored his limited vision; However, his blindness was not an obstacle to his writing, as he began to dictate his works.
In 1935, Carrasquilla was awarded the Cruz de Boyacá, an award that grants the recipient the same privileges as the president or former president of Colombia.
He wrote Hace Tiempos (" A long time ago ") by dictation between 1936 and 1937; That work earned him the José María Vergara y Vergara National Prize for Literature and Science from the Colombian Academy of Languages. This recognition gave him national fame and attracted international critics, who admired his work and rescued his name from near anonymity.
In December 1940, Tomás Carrasquilla died among a large group of friends and admirers, who called him " Don Tomas" or " Master Tomás Carrasquilla".
Between costumbrismo and modernism
Carrasquilla is generally seen as a costumbrista author due to the cultural context of his world. The traditional details of simple people and descriptions of landscapes in his work are characteristic of Costumbrismo, which developed in Spain and Latin America during the XIX . The objective of the costumbrist author is the description of the framework of the traditions of a people without further comments on respect and as a consequence of romanticism. [ clarification needed ]
In the late 19th century, modernism began to appear in Latin America and Spain. In Colombia, modernism had authors, journalists, artists, and photographers like González, Greiff, Rendón, and Matiz. Modernismo developed as a counter against costumbrismo. According to Federico de Onís, Carrasquilla knew, and even shared, the new tendencies of modernism; For example, he supported Los Panidas but kept his own style and originality.
Speaking strictly, he was always an independent writer, and his greater merit and originality are manifested in his ability to remain free from the direct imitation of any influence, although all those he received are latent in his work. -
In this sense, the classification of Carrasquilla as costumbrista is not exact. According to De Onís, Carrasquilla's work stems from the static costumbrismo of the XIX century, which is described through a detailed description:
His literary work is equal and diverse; diverse, unlike the work of nineteenth-century seamstres who described his paintings, landscapes and characters using the same pattern; equal, in that his work always permeates the substance of Antioch, and this unique external reality is always seen through his personality. -
For the Colombian journalist Carlos Uribe de los Ríos, the classification of Carrasquilla as a costumbrista author caused him a long marginalization within Colombian literature:
Carrasquilla was despised by some Bogotan writers of his time, who considered him provincial. And as the teacher of Santo Domingo thought the same of his rivals, it was not easy in that context to generate good feelings about the work of the anti-Ochean author who led his work to his merit just beyond the limits of his province. If Canadian professor Kurt Levy had written a critical biography of him, many fewer people would remember today the Colombian writer and his most notorious novels according to his critics: The Marquise of Yolombó Fruits of my land And a lot of their stories. Don Tomás Carrasquilla was a writer capable of reaping simple and direct anecdotes of everyday life, and transforming them into disconcerting, intense and beautiful stories. He was a master of the details, of the description in filigree, of the appropriate word, with the advantage of knowing how to maintain the constant interest of the reader. Ironic, sometimes ruthless, tender when he was in shape and owner of that intensity indispensable to transform an ordinary story into a mental and exciting narrative.
Legacy
Numerous young writers and intellectuals from Antioquia from the time of Tomás Carrasquilla received a notable influence from his work; among them the philosopher from Envigadeño Fernando González who professed great admiration and affection for Carrasquilla.
One of the reasons given by De Onís about why Carrasquilla's work was so unknown in Colombia and abroad is due to the fact that he lived between two very different eras of Latin American literature: costumbrismo and romanticism, which in Colombia had representatives such as José Asunción Silva, whom Carrasquilla knew personally, and the advent of modernism, which was a reaction against costumbrismo. By classifying Carrasquilla as costumbrista, modernist critics left him out.
Fernando Gonzalez
If proof must be presented that Carrasquilla was more than costumbrist and that he used elements of realist modernism in his works, it is the intellectual relationship and great friendship that united him with the "Philosopher of Otraparte", as Fernando González was called. With an age difference of 39 years, González met Carrasquilla in Medellín while founding the literary group Los Panidas with Rendón and De Greiff.
González, another of the great masters of writing in Colombia, wrote an essay about the author, "Hace Tiempos de Carrasquilla," where he says:
This Carrasquilla is so mirón, so listener, so a tailor of clothes and souls, so realistic so semi-decided that it nourishes itself of the energies of its anti-oque nation, that although I am a barren quarantine, when reading it and hearing it, it impreña me of this judgment: it is unique in Colombia; it is Colombian pride, it is the one that I can send to M. Bréal, so that I seeF. Gonzalez.
Works
The fact that in his time the works of Carrasquilla were widely disseminated in the Paisa Region, this does not mean that they went unnoticed either in Colombia or abroad. Especially from 1936 with the recognition that the author received in the National Short Story Contest, his work attracted the attention of literary critics such as the Chileans Arturo Torres Rioseco and Mariano Latorre and maintained an affectionate friendship with other writers such as José Martí and Miguel de Unamuno through a vast correspondence. Carrasquilla's works are divided into novels, short stories, essays, articles and epistolary. In 1906, he confessed to a friend in a letter that he "writes because of economic constraints, being as he is ruined", but in reality, although he had his moment of economic crisis, he actually had good resources to survive a lifetime of bachelorhood. Many of his early articles and short stories were published at the turn of the century in Alpha magazine and other publications, later collected in digests. Some columns that he wrote in certain newspapers, among them El Espectador, have earned him the title of journalist before some commentators, but in reality it was a very sporadic function that has no greater incidence than the preserved columns because of the importance of its author. The most representative work of him is complete work
Novels
- (1896) Fruits of my land
- (1897) On the right hand of God the father
- (1897) Arias
- (1903) Salve, Regina
- (1906) Child logs
- (1910) Great
- (1920) Ligia Cruz
- (1920) Father Casafus
- (1925) The Zarco
- (1928) The Marquise of Yolombó
- (1935-1936) It's time.
- (1915) The Rifle
Stories
- (1890) Simon the Wizard
- (1890) Palonegro
- (1901) To the silver
- (1898) The soul alone
- (1899) San Antoñito
- (1926) Rogelio
- () The Preface of Francisco Vera
Collections
Carrasquilla's articles and stories that appeared in different publications in Medellín at the beginning of the XX century have been brought together in two collections:
- (1914) Homilies
- (1934) Dominica
The Marquise of Yolombó
La Marquesa de Yolombó (1926) is a historical novel. It is about the reconstruction of a Colombian town Yolombó, at the end of the XVIII century and in the proems of the cries of independence. The novel is a perfect description of the prevailing social classes at the time with the Spanish and their ancestry at the head, the white Creoles and the lower classes made up of blacks and mestizos. Yolombó was during that time a prominent point for the colony because it was located in an area of mining exploitation. In particular, the black population, even though they were baptized within Catholicism, retained their African beliefs.
Simon Magus
"Simón el Mago" was a story written in 1890 in which Carrasquilla laughs at superstition and witchcraft and presents the ways in which these come from the encounter between the three races, for example, the black represented by Frutos, the Toñito's nanny whom she protects as her own son and in whom she has a great influence. The story is narrated in the first person from Toñito's perspective as an adult's account of his distant childhood years.
Picking witches, he told me once, it's the easiest! For more than to grab a handful of mustard and give away the room for a whip: at night comes the vagamunda... and stings, to sting fruit and mustard; and to what is well crouched, to dream, for more than to throw it with the belt and St Augustine... And so toñiito is linked with patimano, tangled in the hair! A little father of the village of Tunja caught a lot of ass and tied them to the paw diuna table; but the cook of the priest was so dumb that he gave them güevo tibio, and the damn ones were embarking on the coke! (...)
Contenido relacionado
Anna Lindh
Jean Cocteau
Francisco Fruits