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( Under Review
SANTA EVITA
Diary of a reader
Carlos Fuentes
looks like it was filmed before the inIn 1943, I lived with my family on the
Buenos Aires. I had just turned fifteen, also make an occasional appearance on
avoid the fascist ideology fostered by the cut swimsuits or decked out as a sailor.
I wanted to go back to Mexico, and Ar- lived, everybody left in the morning at
gentina was just an interlude. Rather ten; the only people remaining were
than study, I read Borges, followed the myself, reading Borges and listening to
tango orchestra ofAnibal Troilo, went to Eva, and a gorgeous European woman
the movies on Lavalle Street, and listened who lived alone on the floor above us.
dio series on famous women in history: platinum and with an artificial mole on
Marie Antoinette, the empress Carlotta,
in this essay
Santa Evita,
fering, suffering, and I vill go mad!" Eva owe my sexual initiation to Eva Peron. I
Evita, 1944
UPI/Corbis-Bettman
Pr6diga which, as Eloy Martinez notes, the time was minister of labor in the
44 TRANSITION ISSUE 70
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the year before and were now starring in and death of a historical figure, Eva
their own radio soap opera, acting out Peron); and finally, to restore a docubefore the crowds, without any need to mented and documentable history to its
pretend to be Caesar, or Cleopatra. I sawfactual truth, which is fiction.
newsreel: they were on their balcony is to rewrite it, says OscarWilde, quoted
overlooking Plaza de Mayo, and I real- by Eloy Martinez. And the Argentine
ized that from now on Eva Duarte and
Juan Peron would be playing two chardefinition, unfaithful. Reality ... cannot
secrets alike. Let us imagine for a moment the unredeemed life of Eva
warps the boundaries of the everyday.going to the phygician" when she was
First the novels of Carpentier, then thosegoing to the physician, forced to learn
ever, that the novel can hardly competeifio, a comedian whose orchestra played
with history in Latin America. Garciatango, and who was wont to dress up as
Marquez himself said to me, regardingCharlie Chaplin.
the incredible recent events in Mexico:
When Eva Peron began her spectacWe should cast our books into the sea,
ular rise, the elites and the oligarchy of
for reality has surpassed them. Tomas
Argentina attacked her with ferocious
46 TRANSITION ISSUE 70
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Peron addressing
the crowd from
the balcony of
the Casa Rosada,
Buenos Aires,
1950.
diate-of the Argentine oligarchy andin Patagonia would tie six or seven dogs
its pretensions by the "cheap hussy" to
is a wall, organize a firing squad, and execute them in a frenzy of missed shots,
one of the best stories of political venge-
blood, and howls? "Our only amuseEvita wielded a single historicalment here is executions," Eloy Martinez
Argentine military for sects, crypgive or pardon anyone who had humiliated her, insulted her, hurt her. But her
tograms, and the occult sciences, which
mythical weapon was even more powerculminated in the reign of the "Sorful: Eva Duarte believed in the miracles
of the radio soaps. "She thought that, ifsubsequent Mrs. Peron, Isabelita. Only in
there had been one Cinderella, there a fable would we find the plan of an Arcould well be two." And she was right: gentine colonel to assassinate Per6n by
this much she knew, and this her ene- slicing off his tongue as he slept. And
mies did not know. Evita was Cinderella, only in a fable would young Eva have
armed and dangerous.
nos who had escaped from an instiNo matter how sordid the story of the tution. (When Evita presented them to
origins and rise of Eva Duarte may ap- Peron, a group all naked and covered
pear, from the outset it is paralleled bywith shit, the horrified general sent
another story which is historical, myth- them away, out into the country-
ical, magical. The enemies of Evita saw where they escaped once more, disaponly the naturalistic novel, a la Zola: pearing into the cornfields.) Reality or
Evita Nana. She sought to live the dra- fiction? The answer: reality is fiction.
matic novel, a la Dumas: Cinderella
Eloy Martinez admits it: the forces at
Montecristo. But neither she nor her en-
SANTA EVITA 47
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Eva Per6n
speaking at labor
meeting, Buenos
Aires, 1951.
Corbis-Bettman
more than language itself. Lapses ofbe as hard as any general or politician,
memory filter tainted truths: "Perhapsbut this was secondary; now Cinderella
none of what seemed to be happening did not have to do bad films or bad rawas really happening. Perhaps history dio plays. Cinderella could act in history,
was made not of realities but of dreams.
Men dreamed of events, and then writ- Eloy Martinez recounts a marvelous
ers invented the past. Life did not ex- scene in which Eva, from her theater
Eva Peron, Cinderella in power, ex- to Pope Pius XII. The frustrated actress
ercised it like the stepmother in a fairy repeats in a whisper the silent dialogue
gave everything away, attending to the no longer has to act in the disgraceful
long lines of people in need of furniture, settings of Argentina Sono Film. Now
a wedding gown, a hospital. Argentina her stage is nothing less than theVatican,
became her own Island of Barataria; the the World ... and Heaven. Only God, afonly difference was that she herself was ter all, can write a perfect script. But to
Don Quijote, and Sancho Panza, her imitate God's imagination is to accede to
down-to-earth, snub-nosed, working- his celestial kingdom while still on this
class husband, devoid of charisma until earth. Santa Evita did so in her lifetime:
she invented a myth for him, a myth he in 1951 a sixteen-year-old girl, Evelina,
finally came to accept. Eva Peron could wrote Evita two thousand letters, at a
48 TRANSITION ISSUE 70
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lamentations of the crowd: Evita is dyter a Christian burial, Evita will finally
fall into oblivion.
ing. But it is in death that Eva Peron begins her real life. This is the essence ofBut Eva Peron, mistress of her fate at
monds ... a beauty which made one forjust replace an impossible sexual love
get all the otherjoys in the universe." Dr.
with a National Goddess. They ensure
SANTA EVITA 49
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Eva Per6n's
funeral, Buenos
Aires, 1952.
UPl/Corbis-Bettman
lantic ships. She is called The Deceased. that of the biographer. It consists of
of this sobriquet. That Person who is Colonel Moori Koenig, one of her
pers and flowers. The task of the care-out, "She is being buried on the moon!"
takers becomes impossible. They mustI myself prefer this other climax: the arcombat a death whose life millions be-
lieve in. Her ghostly reappearances arebody of Nobody to Genoa on board the
many and identical: she says only that the Contessino Bianocamano. The embalmed
future will be somber. As ever, Santacorpse is knocked about in a huge casEvita is infallible.
The embalmer always knew it: "Dead,Galarza's only pastime during the crossshe can be infinite." It is Dr. Ara who is
entrusted, after Evita's death, with an- every night with Nobody. Eva Peron, his
swering the letters still sent by her faith- corpse, "is a liquid sun."
ful, asking for wedding gowns, furniture,
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Woman.
corpse.
All of them, however, are transcended so vulnerable. It has been forced to recall
by the author himself. Tomas Eloy Mar- that is also the country of Facunde,
tinez is conscious of what he is doing. Rosas and Arlt-as brutally savage as its
Myth and history part ways, and be- military, who are torturers, murders, detween the two lies the defiant reign of stroyers of families, generations, and enfiction. He wishes to elevate his heroine
of the biographer
public of Argentina, as the povertynovelist offers us not life, but stories. The
stricken
mestizos surround the Parisian
novelist knows that "reality does not
come back to life; it is born in another
city on Rio de la Plata, so did Eva
between the mythical and the true, finding my way among the lights of what did
SANTA EVITA 51
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