El Llano en llamas is a collection of short stories written in Spanish by Mexican author Juan . short stories. La herencia de Matilde Arcángel in Spanish online. A final example that attests once more to the “caciquil” basis of the society that Rulfo portrays: in the story “La herencia de Matilde Arcangel,” one of the main. These are, besides the fifteen published as El llano en llamas, five sueltos: “Un cuento,” “El dia del derrumbe,” “La herencia de Matilde Arcangel,” “Un pedazo.

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The result is that the reader starts expecting the story to be told around the theme of the flood, when in fact the flood is only the background to a greater tragedy for this family. Thus it is easy ee him to be distracted from the true point of view.

Juan Rulfo

It would be natural to assume that, although the. As frequently happens in Rolfo’s stories, the characters themselves tell their own stories.

The actual execution has been omitted, and this parts starts thus: Cuando creci y lo busque me dijeron que estaba muerto. It herecnia a break herenica the chronological order of events, although this fact is not clear, because the time when he speaks the monologue is not fixed until two pages after it begins, where we read: None of these events can be assigned a definite order with respect to each other, or with respect to any other event.


Dialogue is sometimes an important ingredient in Rulfo’s stories.

El Llano en llamas – Wikipedia

According to Gradesaver Study Guides “This story takes place between and during what was known matilce the Cristero War. Lucatero begins the story by cursing the women who have come to visit him saying: In “Es que somos muy pobres,” the main indefinite element which appears in the story is the anonymous narrator. It is not possible to determine to whom he delivers this monologue, nor is it necessary.

II9 The outstanding exception to this is the father’s reference to his daughter, then the words “que en paz descanse” p. They are mtailde as a recollection, using past tenses preterite and imperfect, especially as a starting point for the narration.


None is mentioned, nor is any suggested, which leaves only the reader as listener. Tuxcacuenses, vuelvo a insistir: Eh El llano en llamas estan ausentes las asperezas tecnicas, los anacrbnismos de que se mattilde cuentistas de la hora, estando presentes, en cambio, las tecnicas que han orientado la novela y el cuento por nuevas sendas. This fact is not evident at first, but when the narrator says, “Pero no soy adivino, senor licenciado” p, 44 we see from the direct address that we are receiving only one part of the conversation, as Gordon notes: This level is divided into blocks by the intervention of the present level i.

Carlos Blanco Aguinaga, pp.

Tuxcacuenses, vuelvo a insistir: Universidad Nacional Autonoma,pp. It makes a fleeting appearance, but it is a beginning, and Rulfo uses the technique more extensively in other stories, especially in “iDiles que no me mateni” The passage rather sneaks up on the reader, as Rulfo is narrating how the mother gets ready to go out, but then decides to return for a coat: Ya descansaremos bien a bien cuando estemos muertos.


Se me ocurrio que el nino pasaria bien la noche con nosotros. Lo desperto el frio de la madrugada.

Full text of “Narrative techniques in the short stories of Juan Rulfo.”

Traigo los mismos ojos con que ella miro las cosas Abrio la puerta para salir, pero enseguida sintio un viento friq In “Nos han matidle la tierra” we find meiny references to and criticisms of the land.

The only hint of a change which the reader gets is a blank space between paragraphs, whicn he does not know how to interpret.

This group is seen as having two types of stories within it: In his statement “la enterramos” p. Unlike many of Rulfo’s monologues, “La herencia de Matilde Arcangel” is mahilde monologue directed to some specific listeners. Y entonces, uno esta en la iglesia, amarrado a la madrina, oyendo afuera el turn tum del tambor. The digression is a technique which is also used to effect the stopping of time flow: