José Rubén Romero: The Writer as Seen by Himself

Author(s): William O. Cord

Source: Hispania, Vol. 44, No. 3 (Sep., 1961), pp. 431-437
Published by: American Association of Teachers of Spanish and Portuguese
Stable URL: http://www.jstor.org/stable/335402
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 JOSE RUBEN ROMERO: THE WRITER AS SEEN BY HIMSELF
WILLIAM O. CORD

Fresno State College

In the numerous studies, analyses, andShortly after arriving at his consular post
critiques of Jos6 Ruben Romero and hisin Barcelona, he began to experience a
works there is only sparse data concerning profound nostalgia for native soil. Unable
Romero's analysis of himself as a writer.to return to Mexico, don Ruben then at-
Through a study of his ideas about him-tempted to satisfy his longing by writing
self as an author, it is possible to ascertain of his life in his native Michoacin. Romero
the real purposes of his compositions.1 The described this period in Spain as follows:
indispensable sources for this data are Ro- "Mi ausencia de la patria se tradujo en un
mero's uncollected essays and articles.anhelo insaciable de recordarla, y encontr6
Written only a short time before his death,la forma de dar cuerpo a mis recuerdos,
these articles permitted Romero to reliveescribiendo y describiendo cuanto llevaba
verbally much of his literary career and tode mi, relacionado con mi terrufio, con mi
disclose personal data which he had not provincia, con mi niiiez pasada en una
imparted before. casa solariega, con mi modesta juventud de
Romero did not hesitate to evaluate him- romero trashumante por villas y por campos
self as a writer as well as to effect a judg- de mi querido Michoacan."a Thus, he was
ment of his own work. His most general,a lugareio who began to record the life of
and at the same time indicative, remarka lugareio.
concerning himself as an author was that Romero remained steadfast in his liter-
he composed without cogitation, in the ary consecration. His novels, his speeches,
only style which was natural to him, andhis articles and essays continuously reflect-
about that which was most familiar to him. ed the flavor of the province. His work, he
His style and his themes were reminiscent wrote, "es como mi mesa: no ofrece mas
of the province and his provincial lifeque platos regionales."* He also admitted
therein. "Escribo como puedo," he wrote.that he, like many of his contemporaries,
"Soy un lugarefio; hablo como quien quiero was imbued with the revolutionary feel-
ser: un hombre del pueblo."2 Essentially,ings which dominated Mexico and its
the literary works which were producedpeople. Thus, as he wrote about his own
with this desire accounted for the literary experiences, the events for his story were
stature which Romero enjoyed. His de- those of the contemporary history of Mexi-
votion to the province furnished the stimu-co. Likewise, the people he included in
lus to write, a theme which he could de-his story were real people caught in the
velop, and literally, a style with which he turmoil of revolution. He admitted that he
could compose. had never created a single event or char-
Ruben Romero admitted that had heacter. "Las gentes de mi tierra," he wrote,
never left Mexico he probably never would "son los verdaderos protagonistas de mis
have composed the works by which he isobras; yo no he hecho mis que llevarlos al
known. Although the love for his provincepapel."5
and his sincere admiration of the people Because he had developed themes which
were sentiments of long standing, Romero's
were fundamentally based on his own ex-
desire to write of the province and pro-periences in life, the works of Ruben Ro-
vincial life did not develop until 1932.mero were essentially autobiographical.
431

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 432 HISPANIA

Romero freely The popularadmitted

reaction to Romero's works tha
straint in writing materialized as he had presupposed.
of With- himse
his stories much in a period of fourinyears, a the
total of eight same
had lived them. editions of his first four
He novels had been
indica
that he had sensed that his works would published. As subsequent works appeared,
have a popular appeal. It was not vanity each was likewise well received by the
which prompted Romero to think of popu- reading public.8 Within six years of the
larity. Rather, as his life had been so typic-publication of his first novel, Romero had
al of that of thousands in Mexico who had been accepted as a member of the Mexican
experienced similar, even identical, inci-Academy. Despite the enthusiastic accept-
dents in their lives, identification of reader ance of his works by the public and of-
with a character, an event, a place, or even ficial recognition by the Academy, Romero
a mood would be a common occurrence. was still hesitant to grant that any of his
Autobiographic composition also afforded compositions could be accepted as works
him freedom from an exercise of the imagi-of art. He insisted that he had merely re-
nation. He could draw on the facets of histold the story of his life. He had written
life. He was not burdened with the the account in the vernacular rather than
in a grand or noble prose. He admitted
necessities of plot construction, character
the presence of many defects in these com-
development, and artistic imagery. Neither
positions.
did autobiography, in his mind, demand a But, he explained, these defects
meticulous prudence in semantics and were
syn- really reflections of similar weak-
nesses
tax. He insisted that he was incapable ofin his own character: indiscretion,
pride, inconsistence. If late in life he re-
creating a work wherein style and form
mained unembarrassed by his actions, he
could be evaluated by accepted literary
standards.6 blamed himself for not having composed,
Romero thus considered his literature to during the vast scope of his literary career,
have little literary value in either national at least "... un buen libro."9 And in final
or international circles. He wrote for per- judgment of himself as a writer, he wrote:
"... debo sentirme vencido, impotente para
sonal pleasure and satisfaction, not in an
attempt to display any special creative expresar mis sentimientos."'0 Thus, despite
talent or to create finished artistic master- a pretentious popularity in his country and
abroad, Ruben Romero was unwilling to
pieces. The writing of his novels was es-
sentially his method of experiencing vi- deem popular reaction synonymous with
artistic value. Although he was so pleased
cariously the pleasures of his home while
that so many persons had read his works
he was away from Mexico. He implied
and expressed the hope that others would
that his books were only those works which
come to know them, his ultimate decision
would have been achieved by anyone pos- was that he had been relatively unsuccess-
sessed of the power of retention coupled ful as an author and that his works "...
with a desire to exhibit in writing an ar-
carecen de importancia como obras de
dent devotion to one's home and friends. arte."11
Referring to the manner in which he con-
ceived his ideas, arranged them in order, If Rub6n Romero generally belittled his
talent as an author and the merit of his
and put them on paper, he wrote: "Mi
facultad retentiva para recordar objetos, works as a whole, he was personally most
paisajes y personas, gastada por los afios, satisfied with his novel La vida in, til de
me ha servido de cimara fotograifica y en Pito Perez. Although Romero stated that
los viajes la pongo en actividad para tener perhaps this work had been too highly
despubs algo de que hablar y de escribir."7' praised by the critics,12 there is no doubt

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 Jose RUBPN ROMERO 433

that he reached the heightcontra a militerary

of his mismo: vi que yo no era
career with this novel whichaquello ... iY la hice mil pedazos ... .Y en
paradoxically
has been termed, as will be seguida
explained me escribi, en dos meses, el 'Pito
later,
both the most Mexican and Perez'.))17
the least Mexi-
can of his works.'3 There is no doubt that Romero's most
singular
That this novel was Romero's attractionisto this novel was oc-
favorite
evidenced by the ample data which the
casioned by heprotagonist,
sup- Pito P6rez. If
plied regarding the work.inRomero
his literary wrote
haste, Romero had caused
that the initial idea for thePito to diewas
novel at thenot
close of the novel, Pito
lived on in the mind of the novelist. Sub-
unduly influenced by his knowledge of
stantiation of this statement is evidenced
peninsular picaresque literature. As of
1938, the year in which the by the publication
novel was writ-of a second work which
concerned Pito's activities."8 Romero stated
ten, Romero had read only four works of
that he found consolation in the character
picaresque character: La vida de Lazarillo
de Tormes, La Celestina, theof rogue. Pito afforded
Rinconete y a psychological
solace whichilamado
Cortadillo, and Vida del buscdn, Romero had not found else-
where. Although
don Pablos de Segovia.4' Within Romero never explained
ten years
of that date, he had becomehimself
more in acquaint-
this matter, one can assume that
ed with the extensive picaresque was
such solace really identification of self
produc-
tion in Spain. But even with
then,the novelistic
Romero character. As Romero
would concede only that his wrote:
work"Cada bore
vez que aacosa una pena, o
resemblance in form and thememe siento and
solo, o that,
me hiere un desd6n, me
as literature, his novel did not
acojo arank artis-
Pito P6rez, al Pito P6rez que no ha
acabadoAlemain,
tically with those of Cervantes, de morir dentro
or de mi cerebro y
Quevedo.'5 lo azuzo para que no muerda a los
merodeadores."'9
Ruben Romero also described how the
Much of this interest was caused by the
novel came to be written. In 1938, he was
authenticity
serving in Rio de Janeiro as Mexico's of Pito
am-Perez. It is true that
the source and inspiration of Romero's
bassador to Brazil. As he was then a newly
novel came
elected member of the Academia from the thoughts and actions
Mexicana
of a real human being, Jes's P6rez Gaona.
de la Lengua, he was determined to mature
Perez Gaona was born in Santa Clara,
in his writings by composing a book a year
utilizing themes of a less Michoacin.
provincialThe date of birth is unknown.
and
He had left his home and family while
more learned character than those present
still
in his other works.'6 But the quite young because
irresistible at- he was unable to
conform to certain patterns of accepted
traction to provincial life was so dominant
conduct. Romero wrote that P6rez Gaona
within his character and nature that he
then became a kind of vagabond, an itiner-
quickly shed the literary veil of artificiality
ant salesman who traveled from village to
and returned to dealing with themes with
village selling inexpensive items to any
which he was intimately acquainted. Ro-who would buy. Because of the notions he
mero's own words tell what occurred: "A
sold, he soon became known as Hilo Lacre.
veces pasa lo que con aquella novela que In time, P6rez Gaona abandoned his role
escribi a raiz de ser elegido acad6mico. as salesman and turned to the charity of
Termin6 realmente una obra que, a mi al the provincial people for his living. He
menos, me parecia impecable, peinada, continued wandering over the Michoacin
cuidada, corregida, academica en fin. Era countryside, loitering in stores and cantinas
un relato de mi vida intima, muy respetable where he amused the people with his tales.
y serio; pero un dia, no s6 c6mo, me en- Rubcxn Romero remembered P6rez' many

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 434 HISPANIA

visits to his misery father's

while others enjoyed the store
benefits
Paz as well as some of the colorful stories
granted by wealth. Romero described this
which had become Perez' hallmark. Ro- purpose as follows:
mero admitted that, at the time, he had Al escribirlo, no me propuse hacer un libro
not understood the stories, but later they
gracioso, sino mis bien, desahogar amarguras y
formed the basis for the series of adven- tristezas que la vida impone a determinados
individuos, a quienes todo les sale mal econ6mica
tures presented in the novel. Romero alsoy afectivamente, seres obscuros que no liegan a
remembered the pito de carrizo whichsaber lo que es un amor, ni a tener asegurado el
Perez Gaona always carried and which he pan de cada dia, mientras que en la misma
comunidad a la que les toc6 en suerte corres-
learned to play quite well. A second and ponder, como un escarnio a su miseria, otros
more permanent nickname came into be-alcanzan todos los goces de la tierra, todos los
ing because of the instrument: Pito. Anddeleites de la carne, todas las satisfacciones que
Pito Perez became a most familiar figurese compran con el dinero, desde la lisonja del
necio hasta la consideraci6n de los poderosos.23
to the people of Michoacin, Jesuis Perez Since Romero had once inferred that
Gaona, better known as Hilo Lacre or Pito
Perez, died on November 9, 1929, in he had written this novel with a purpose
Morelia, in the hospital founded by Ro- more serious than that of entertainment,
mero's friend, Dr. Miguel Silva.20 and then later detailed a specific objective,
At the time Romero stated how he had it would seem that this latter supersedes
come to write the novel, he also mentioned the first in importance. In effect, this pur-
what perhaps was a purpose in writing this pose renders the desire to entertain a tech-
work. He said that this account of the life nique with which the novel becomes more
of Pito Perez was ". . . un libro sin tras- appealing to a greater number of readers.
cendencia" and that he had written it "sin Assuming the more serious of the two
mis deseo que el de que se rian un rato objectives to be Romero's ultimate goal,
... pero no de mi."21 There is evidence to the immediate public reaction to the novel
support the statement that Romero's pri-was somewhat disconcerting to him. Al-
mary purpose was not merely to entertain. though readers generously applauded this
It is true that, in 1942, Romero had ex- work which enjoyed two editions during
pressed much the same idea as that quoted the first year of existence, these same read-
by Robles: that he had destroyed a care-ers seemed to see a comic character in the
fully prepared manuscript and had written person of Pito Perez. To them he was a
La vida initil de Pito Perez in that style clown. The element of tragedy apparently
which ". . . hace reir o llorar a los pastores made no impression. Romero was disturb-
y a los mesaneros."22 However, Romero ed by this reaction of the public. He was
continued by hinting at the presence of afurther upset when people began to associ-
more important objective which, for rea-ate him with the protagonist of the novel.
sons unknown, Robles did not record. ItThey began to address him as "Pito PNrez."
was not until 1949 that Romero expressedSuch actions and reactions on the part of
that purpose. He wrote then that he had the public caused Rub6n Romero to as-
wanted to record the sadness and bitter- sume that he was either a poor judge of
ness which life had inflicted upon an indi- human character, or that he was complete-
vidual for whom everything had always ly incapable of expressing himself clearly
turned out for the worse. He had wanted and accurately in writing. He reported his
to portray this person who had known only reactions when he wrote that "queriendo
defeat in business, in society, and in love.hacer un libro angustiado y doloroso, la
It was Romero's desire to picture one of tragedia de un hombre perseguido por la
these many persons who was hungry while desgracia, me result6 un sainete que pro-
others ate at leisure, one who lived in voca risas."24

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 JosP RUBEN ROMERO 435
Romero's initial impression of timeless.
the publicThus, Romero had succeeded in
reaction to this novel soon proved incorrect.
writing a work whose declarations had
If the readers had been amused, certain
they were
universal applications. "Todo escri-
also acutely aware of the tragedy in a "desea llegar al piblico,
tor," he wrote,
human life. To the Mexican, it wass6lo
aunque thesea con el prop6sito de ver con
story of his life and Pito P rezcuantas personas coincidimos en nuestra
was every
Mexican who had been caught in manera
thedetur-
pensar y de sentir. El libro mio
moil that followed the Revolution.
que misPito
se acerca al pensamiento de la
mayoria
was the personification of rebellion es Pito Perez, tal vez porque
against
the inhumanity and injustice of existen en el mundo muchas gentes con
a stagnant
las mismas
country.25 Pito was an individual whose ideas, la misma rebeldia e
ideas paralleled those of Romero andtristeza
identica he que mi personaje, aunque
no se atreva a desnudar sus pensamien-
became the mouthpiece for the pessimistic
tos."29
views of his biographer, who in turn was
enumerating the attitudes of the It ispeople.
obvious that Rub6n Romero's re-
The people of Mexico easily understood
marks concerning himself as a writer and
his cries and his pleas. Romero was
thoseexpress-
about his literature are relatively few
ing national attitudes; Pito Perez was However,
in number. his they reveal much in-
spokesman. But, if Pito P rez was essential-
formation which contributes to the literary
ly Mexican in concept and description,
knowledge of he Romero. By his own admis-
was like many men in other cultures and was the story of his life
sion, his literature
other societies. It was in this as
light that of Mexico. Because this
a provinciano
Indalecio Prieto termed this novel
life both thelike that of others, what
was so much
most Mexican and the least Mexican of
he wrote was really the story of life, ideas,
Romero's works.26. The totality of Pito's and observations of many other Mexicans
ideas was at once specific to Mexico and who had been enmeshed in the confusion
general everywhere. They seemed to re- of revolution. By means of this picture of
flect the thoughts of many men in many Mexico and Mexicans, Romero's popu-
places. As one critic explained, the reader larity, and much of his literary success, was
saw himself as Pito Pdrez, as a picaro, who assured.
like Pito was running from life, attempting By his own admission, Romero's litera-
to escape a cruel monotony and routine.27 ture did not boast those characteristics
If Romero had really wanted his work to usually associated with artistic creations.
be the anguished story of a man, he act- His works lacked literary finesse and re-
ually had compiled "una visi6n angustiosa finement. He and his literature consistently
de la Humanidad."28
reflected the atmosphere of provincial life,
In time Romero became aware of the whose attention was directed more to the
true public sentiment for his novel and daily affairs, concerns, and activities of
even admitted the truth of these cogent struggling human beings than to the sub-
analyses. He acknowledged also that he tleties of urban society with its fabricated
had succeeded in his overall purpose. But code of cosmopolitan conduct.
what he had not realized, at least at first, Romero believed that his literature
was that this was not the tragedy of a man, should not be judged with the standards
but one of men. The protagonist was at necessary for literary works of art. His
once the personification of a people and works were not creations in that the theme,
an epoch, and indirectly, reflected the an- its development, and the style employed
guish of men of all ages. Pito's complaints for that development were fashioned solely
were not restricted by time, they were by talent and creative imagination. He ad-

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 436 HISPANIA

mitted that noviembre

he wrote 1950), p. 21. more
because of 7 "Instantineas de una jira presidencial,"
authentic literaHoy,
if Romero at times was disturbed because 637 (7 mayo 1949), p. 11.
8 As of 1959, in addition to the Obras com-
he had never written a true literary cre-pletas, Romero's novels had amassed a total of
ation, and if he belittled much of his own forty-three editions.
writing, he was consoled by the presence 9 "Esta seria una sincera entrevista," Hoy,
in his literature of a value which he con- 713 (21 octubre 1950), p. 19.
sidered of an importance equal to that of 10 "Las campanas de Pito Perez doblan a
muerto," Hoy, 652 (20 agosto 1949), p. 15.
artistic merit. He had expressed himself 11 "Vanidades y recuerdos," Hoy, 639 (21
honestly and sincerely and he had written, mayo 1949), p. 26.
with unwavering dedication, about that 12 "Las campanas de Pito Perez doblan a
life which he believed the real delineatormuerto," p. 14.
of to mexicano. Although he had written 13 I[ndalecio] Prieto, "iHasta luego!" Am&i-
cas, iv, (11 noviembre 1952), p. 32.
of people and events that were close to 14 "Las campanas de Pito Perez doblan a
the soil and native to a given epoch, he muerto," op. cit.
had been able, at least in his favorite work, 15 Ibid.
to portray much of the anxiety endured 16 Luis de Sandoval, "Cu6nteme su vida."
This article is in the possession of dofia Mariana
by men everywhere, at all times. Garcia de Romero, the author's widow. The
pages had been torn from the magazine and
NOTES thus full bibliographical data was unobtainable.
17 Quoted by Antonio R. Robles, "Ni Pito ni
1 The only work in the Obras completas
don Romero nos engafiaron," Excelsior, afio
(M6xico, Ediciones Oasis, [1957]) which con-
xxxvI, iv, 12.716 (8 julio 1952), p. 6a.
tains data pertinent to this theme is "Breve
18 Algunas cosillas de Pito Perez que se me
historia de mis libros," pp. 3-16. This article,
quedaron en el tintero (M6xico, [Imprenta
originally presented as a speech on April Aldina],
28, 1945).
1942, in Havana, is patterned after another of
Romero's speeches, "Habla Rub6n Romero," 19 "Fechas y fichas de un pobre diablo,"
Homenaje a Ruben Romero (M6xico, [Imprenta Cuadernos americanos, afio 4, vol. 22, (4 julio-
Aldina], 1937), pp. 49-60. Romero gave thisagosto 1945), p. 254.
address several times after 1937 and on each oc-
20 The publication of Romero's novel caused
casion there were only slight changes or alter- much literary speculation as to the authenticity
ations. of Pito Perez. Some of the articles which show
2 "Vibraci6n de Espafia," [iv], Hoy, 731 (24 evidence of research on this question are as
febrero 1951), p. 16. All references in this ar- follows: J[ose] M[ancisidor], "La vida intitil
ticle to Hoy are to that journal published in de Pito Perez," Revista Universitaria, 3 (1938),
Mexico. pp. 58-60; F. Rand Morton, Los novelistas de la
Revolucion Mexicana (Mexico, 1949), p. 72;
3 "Yo he visto asi a los presidentes de M6xico:
Mi compadre Ortiz Rubio," [ii], Hoy, 603 (11 Rail Arreola Cort&s, "Lo popular, esencia de
Jose' Ruben Romero," El Nacional, Suplemento
septiembre 1948), p. 13. dominical (14 diciembre 1952), pp. 8-9; Es-
4 "En el jardin de los Academicos," Hoy, 748tanislao Ortiz, "Pito Perez y Ruben Romero,"
(23 junio 1951), p. 16. These words reflect theBohemia Poblana, 113 (1952), pp. 14-15; Luis
sentiment expressed in 1941, when Romero pre-Alberto Sanchez, Proceso y contenido de la
sented his acceptance address as an academiconovela hispano-americana (Madrid, Editorial
correspondiente: "Mi literatura, volando a rasGredos, [1953]), p. 438. The writer of this
de tierra, se nutre con elementos de una simplici-article has spoken with four persons who claim
dad primitiva: la choza, el Airbol, o la fuente." to have known Pito P&rez. Also, in the writer's
"Semblanza de una mujer," Obras completas,possession are copies of two photographs of
p. 761. Perez, each reproduced from the originals own-
5 Quoted by J. M. Gonzalez de Mendoza, ed by the Romero family.
"Jos6 Rub6n Romero en sus novelas," El Uni- 21 Quoted by Antonio R. Robles, op. cit.
versal, afio xxxvx, cli,
22 "Breve historia de mis libros," Obras
3A. This admission has12.940
been (21 julio
made in 1952), p.
"Mexico completas, p. 13.
es asi, Sefiores," Hoy, 718 (25 noviembre 1950), 23 "Las campanas de Pito Perez doblan a
p. 20. In this speech made before the Spanish muerto," op. cit.
Academy, Romero stated: "De los terrenos de
Michoacin salieron todos los tipos de mis libros." 24 Ibid.
6 "La novela mexicana," Hoy, 717 (18 25 Salvador Bueno, "Tres escritores de M6xico:

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 JosE RUBEN ROMERO 437

Hondura y picardia de Jos6102. Ruben Romero,"

Lyceum, viII, 32 (1952), p. 140. 26 "i Other articles
Hasta luego!" op. cit.
which express similar ideas are: "La vida infitil
de Pito PFirez," Sucesos para 27 Clemente
todos L6pez
(30 (7 Trujillo, "Pito P6rez, ?y
agosto
que?" El Nacional septiembre 1938), p. 3.
1938); "Figuras en el aire," El Popular (8
28 Antonio R. Robles, op. cit.
septiembre 1938); Gilberto Gonzalez y Contreras,
Ruben Romnero, el hombre que supo ver (La 29 "Lo que un americano desearia saber de
Habana, Imprenta "La Veronica," [c1940]),este
p. pais," Hoy, 640 (28 mayo 1949), p. 65.

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