The Contagious Effects of Rural Violence: Social Pathologies and Injured Bodies in Blasco Ibáñez’s La barraca (The Cabin)

Vicente Blasco Ibáñez’s La barraca (The Cabin, 1898) presents a vivid portrait of the struggles of the rural population of the Valencian huerta. When the local people prevent a plot of land from being cultivated as an act of popular resistance against the landowning class, the arrival of Batiste Borrull provokes a campaign of marginalisation and aggression against his family. The collective violence of the mob enacted by men, women and children is unleashed against his daughter Roseta, his sons, and finally five-year-old Pascualet, who is pushed into an irrigation ditch by hostile boys and contracts a fatal infection. The mounting brutality that culminates in the death of a young child becomes a powerful manifestation of social pathologies including rural primitivism, alcoholism and entrenched poverty. This article explores ideological and discursive contexts for the portrait of rural violence at the turn of the twentieth century, including class-based theories of degeneration and crowd psychology. It also examines the trope of stagnant water that courses through the plain as a symbol of contamination, echoing the moral sickness of rural society. Critics have argued that in his social protest novels, Blasco Ibáñez denounces the idle and degenerate bourgeoisie, following instead the anarchist and socialist argument that the vices of the proletariat are the result of capitalist exploitation (Fuentes 2009). By contrast, this article proposes that La barraca underscores the primitivism and pathological violence of the landless rural labourers, thereby reinforcing a bourgeois ideological foundation for the exposition of social injustice in late nineteenth-century Spain.

Rediscovering Frank Yerby

During his career, Frank Yerby wrote 33 novels, numerous short stories, and poetry, making him one of the most prolific and financially successful African American authors of all time. However, while some critics such as Langston Hughes and Arna Bontemps initially praised Yerby, many began to become frustrated with his lack of overt engagement with segregation and racial oppression in his work and personal statements. Infamously, Robert Bone called Yerby “the prince of the pulpsters” in his 1958 The Negro Novel in America. Reconsidering Frank Yerby positions Yerby within the African American literary tradition and emphasizes his role, as Darwin Turner puts it, as the “debunker of myths.” Reconsidering Frank Yerby achieves these goals by highlighting Yerby’s shifting perceptions regarding his role as a writer throughout his career and through an examination of his work in relation to the social protest novels and literature of writers such as Richard Wright, the reactions of his readers, his exploration of religion and existentialism, his deconstruction of race, his transnational focus, and other topics.