Apocalypse at Solentiname by Julio Cortázar
"Apocalypse at Solentiname" is a narrative by Julio Cortázar that explores the intersection of art, memory, and political turmoil through the eyes of a narrator who journeys to Central America. The story begins with the narrator traveling to Costa Rica, where he meets friends involved in the Sandinista movement and visits the island of Solentiname in Nicaragua, known for its simple yet meaningful folk art created by local villagers. These paintings, imbued with innocence and enthusiasm, initially captivate the narrator, prompting him to document them through photography.
However, upon returning to Paris and developing the photographs, the narrator is confronted with a shocking juxtaposition. Instead of the anticipated artistic reflections, he sees harrowing images of violence and suffering, depicting the brutal realities faced by the people of Central America under oppressive regimes. This stark revelation leads to an emotional crisis for the narrator, especially as his companion, Claudine, perceives only the naive art he once admired. The narrative culminates in a profound moment of silence, where the disparity between the idyllic and the horrific raises questions about the nature of perception, social justice, and the role of art amid societal violence. This compelling work encourages readers to reflect on the complexities of witnessing and understanding suffering in a world rife with conflict.
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Apocalypse at Solentiname by Julio Cortázar
First published: "Apocalipsis de Solentiname," 1977 (English translation, 1980)
Type of plot: Autobiographical
Time of work: The mid-1970's
Locale: Costa Rica, Nicaragua, and Paris
Principal Characters:
The narrator , an unnamed but renowned writer and the protagonist of his own narrationClaudine , his companion
The Story
The narrator, a celebrated Latin American cultural figure—he shares with Julio Cortázar the honor of having written the short story "Las babas del diablo" ("Blow-Up")—recounts a journey that he has made to Central America. On arriving in Costa Rica, he is met by several friends who are important members of the Sandinista movement, some of whom escort him to the island of Solentiname, off the coast of Nicaragua. During his visit, one of the purposes of which is to demonstrate solidarity with the Sandinistas in their protracted armed struggle against the Somoza dictatorship, he notices some naïve paintings done by the humble inhabitants of Solentiname. Struck by their unashamed innocence and enthusiasm, he photographs the paintings as souvenirs. After several intermediate stops, he returns to his home in Paris, where his life resumes its normally hectic rhythm. One day, when he recalls having left the roll of film to be developed, he retrieves it and settles down for a comfortable and nostalgic viewing.
Approximately halfway through the roll of slides, however, just when the pleasantly ingenuous pictures should appear, the narrator is dismayed to witness projected scenes of unspeakable violence and cruelty: Soldiers murder peasant children in cold blood, cadavers are piled in tall mounds, women are tortured and raped. The arrival of his companion Claudine coincides with the end of the brutal spectacle. Too upset to speak, the narrator reloads the projector for her and retreats hastily to the bathroom, where (here his memory fails him) he may have vomited, cried, or simply sat in disbelief. After recomposing himself, he returns to Claudine's side and learns that she has seen nothing but the charming paintings that the narrator photographed when at Solentiname. Not wanting to appear foolish before Claudine (or the reader), the narrator says nothing to explain his uncanny experience. This apyretic conclusion is highly appropriate because for those who share his revolutionary social concerns there remains nothing to say, and for those who do not, the whole matter is inexplicable and, perhaps, meaningless.