Juan Rulfo's Pedro Paramo and Religion

Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno, or Juan Rulfo as he was better known, was born on May 1,1917 in the town of Sayula in the state of Jalisco (translates to hot or arid), which is located in western Mexico.

Juan Rulfo is among Mexico’s most known prose writers. His life, Being subjected to experiencing the harsh effects of the Mexican revolution to his family and society, Rulfo became fond of writing about the Mexican culture and the different facets of living that is present their society practically considering the most evasive elements that affected the social living in Mexico back then and the factors continuously affecting the social standing of the country today.

Juan Rulfo’s book also carries a heavy presence of death. Many characters in this book appear to die in one way or another. Some die out of natural phenomena while others are tragically killed. The book opens with the death of Pedro’s grandfather. His death brings sadness and grief to the family. They gather to pray for his soul. Such prayers are to help the dead go to heaven and not hell. Susana’s mother later dies. The death of Senora brings great sorrow to Susana. She pays money for a mass which does not take place. Lucas Paramo also dies from a bullet that was directed to the bridegroom. Several people also die at this wedding after some confrontations ensued. Florencio as well dies at a time when he was still needed in the society. Susana is one person whose life is surrounded with death.

and finds out his father is dead. A central theme that runs through Juan Rulfo’s Pedro

Other minor characters include Miguel Paramo, who is a son to Pedro. He seemed to have followed the character of Pedro. He is presented as a rude rapist. He closely contrasted with Juan whose is the exact opposite. Generally, the story is marked with a lot of ambiguities since no one knows who is dead and who is alive. Critics of this novel highlight that it represents magical realism. The title of the novel draws attention to the character Pedro Paramo.

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Pedro Paramo is one of the main characters in the novel. He is presented as a tycoon in Comala. He owned a vast piece of land. He is presented as protagonist as well as antagonist. He is able to use his decisive trait for his own benefit and to the disadvantage of his community. He seems obsessed by his love for Susan Juan to an extent that nothing matters to him. The fact that Pedro had many children all over the town clearly shows that he has control over the affairs of the town. However, it is saddening that he leaves the town to collapse in pursuit of a woman. Pedro’s life and conduct is very crucial for the well-being of Comala town.

Juan Rulfo's novel Pedro P??ramo stands at the f ...

Rulfo displays Juan Preciado’s search for his father in Comala is based on hope of

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Cultural Connection: Biography of Juan Rulfo

...Deconstructing Death, Gender Roles, and Hope: Comparison and Contrast between Pedro Paramo and The Handsomest Drowned Man in the World While countless people seek for a happy ending when encountering a novel, a story might not always end in a happy ending. Though some stories around the world seem to convey similar morals, they still may differ in style and in the means of how they are illustrated. In fact, the elements of a story may display distinct societies depending on the time period or the author’s values and point of view. For instance, in the Korean novels of the 18th century, women are depicted as weak and careless. In contrast, women are illustrated as more scrupulous and sincere in modern stories (“A study on the types of female portraits in modern Korean novels : focusing on 18 Literature textbooks for high school,” 2010). Besides gender roles, the portrayal of death and hope may also be dissimilar between two novels. Pedro Paramo, by Juan Rulfo (1955), and The Handsomest Drowned Man in the World, by Gabriel Garcia Marquez (1968), are two primary examples. Both authors depict a society in accordance to their cultural traits and experiences, but apparently the two authors possess distinct reflections about death, gender roles, and hope. The following essay will compare and contrast how death is portrayed in the two works, how males and females are discriminated according to their roles, and the hope that the characters in each story share. Unquestionably...


Juan Rulfo - World Literature ..

...Deconstructing Death, Gender Roles, and Hope: Comparison and Contrast between Pedro Paramo and The Handsomest Drowned Man in the World While countless people seek for a happy ending when encountering a novel, a story might not always end in a happy ending. Though some stories around the world seem to convey similar morals, they still may differ in style and in the means of how they are illustrated. In fact, the elements of a story may display distinct societies depending on the time period or the author’s values and point of view. For instance, in the Korean novels of the 18th century, women are depicted as weak and careless. In contrast, women are illustrated as more scrupulous and sincere in modern stories (“A study on the types of female portraits in modern Korean novels : focusing on 18 Literature textbooks for high school,” 2010). Besides gender roles, the portrayal of death and hope may also be dissimilar between two novels. Pedro Paramo, by Juan Rulfo (1955), and The Handsomest Drowned Man in the World, by Gabriel Garcia Marquez (1968), are two primary examples. Both authors depict a society in accordance to their cultural traits and experiences, but apparently the two authors possess distinct reflections about death, gender roles, and hope. The following essay will compare and contrast how death is portrayed in the two works, how males and females are discriminated according to their roles, and the hope that the characters in each story share. Unquestionably...

In an essay, compare Pedro Paramo to Gabriel Garcia Marquez’s One Hundred Years of Solitude

Pedro Páramo stands as a landmark work in the evolution of the twentieth century Spanish American novel in that it represents, for many critics and other readers, the first example of the Spanish American New Novel. After the 1920’s and 1930’s, in which Spanish American fiction sought to paint realistic and detailed pictures of external Spanish American (and often national or even regional) realities, in which description often ruled over action, environment over character, types over the individual, and social message over artistic subtlety, and in which the understanding of the story required little attention on the part of the reader, the nature of Spanish American fiction began to change radically.