Style
Roa Bastos was an exponent of the Neobaroque style that brought Latin American literature to the fore internationally in the mid-20th century. Among others, the Chilean poet Pablo Neruda is also associated with this school of writing. The style uses a complex system of metaphors that are often very closely tied to the land, flora and culture of the particular writer, especially in the case of Roa Bastos. Magic realism is a Neobaroque concept that applies such systems of metaphor to otherwise realistic settings (Yo, el Supremo being a notable example of the form). The Neobaroque style was used by many Paraguayan writers in exile after 1947 and until the 1980s. At the core of much of the work from this group are ideas of political freedom and the emancipation of their homeland.
Roa Bastos started out writing poetry in the Spanish Renaissance and Baroque traditions. Later he took on "a new sensibility" in response to the poetry of Valle-Inclán, Juan Ramón Jiménez, and García Lorca. However, it is as a prose-fiction writer Roa Bastos has built his considerable reputation, through his novels and numerous short stories. Roa Bastos' novels blend the present and past by creating scenes with myths from pre-colonial times and Christian legends, developing a special kind of Magic Realism, although there are significant stylistic variations between his major novels.
Read more about this topic: Augusto Roa Bastos
Famous quotes containing the word style:
“The difference between style and taste is never easy to define, but style tends to be centered on the social, and taste upon the individual. Style then works along axes of similarity to identify group membership, to relate to the social order; taste works within style to differentiate and construct the individual. Style speaks about social factors such as class, age, and other more flexible, less definable social formations; taste talks of the individual inflection of the social.”
—John Fiske (b. 1939)
“The habit some writers indulge in of perpetual quotation is one it behoves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c’est l’homme, what is likely to happen if l’homme is for ever eking out his own personality with that of some other individual?”
—Dame Ethel Smyth (1858–1944)
“Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.”
—William Burroughs (b. 1914)