Juan Rulfo, "Tell Them Not to Kill Me!", The Burning Plain, 1953 (an example illustrating the voices of the text and narrative polyphony).
This story by Juan Rulfo, included in The Burning Plain (Mexico, 1953), is a masterful example of the use of voices in narrative text.
Rulfo constructs his narrative through multiple interwoven voices: the dialogue between Juvencio Nava and his son Justino, Juvencio's interior monologue, and the narrative voice that reconstructs past events.
The story tells of a man who, after decades in hiding, is finally captured to be executed for a crime he committed more than thirty years ago. Below is the beginning of the story:
Juan Rulfo, "Tell Them Not to Kill Me!"
"Tell them not to kill me, Justino! Go on and tell them that. For God's sake! Tell them. Tell them please for God's sake."
"I can't. There's a sergeant there who doesn't want to hear anything about you."
"Make him listen to you. Use your wits and tell him that scaring me has been enough. Tell him please for God's sake."
"But it's not just to scare you. It seems they really mean to kill you. And I don't want to go back there."
"Go on once more. Just once, to see what you can do."
"No. I don't feel like going. Because if I do they'll know I'm your son. If I keep bothering them they'll end up knowing who I am and will decide to shoot me too. Better leave things the way they are now."
"Go on, Justino. Tell them to take a little pity on me. Just tell them that."
Justino clenched his teeth and shook his head saying no.
And he kept on shaking his head for some time.
"Tell the sergeant to let you see the colonel. And tell him how old I am-- How little I'm worth. What will he get out of killing me? Nothing. After all he must have a soul. Tell him to do it for the blessed salvation of his soul."
Justino got up from the pile of stones which he was sitting on and walked to the gate of the corral. Then he turned around to say, "All right, I'll go. But if they decide to shoot me too, who'll take care of my wife and kids?"
"Providence will take care of them, Justino. You go there now and see what you can do for me. That's what matters."
They'd brought him in at dawn. The morning was well along now and he was still there, tied to a post, waiting. He couldn't keep still. He'd tried to sleep for a while to calm down, but he couldn't. He wasn't hungry either. All he wanted was to live. Now that he knew they were really going to kill him, all he could feel was his great desire to stay alive, like a recently resuscitated man.
Who would've thought that old business that happened so long ago and that was buried the way he thought it was would turn up? That business when he had to kill Don Lupe. Not for nothing either, as the Alimas tried to make out, but because he had his reasons. He remembered: Don Lupe Terreros, the owner of the Puerta de Piedra-- and besides that, his compadre-- was the one he, Juvencio Nava, had to kill, because he'd refused to let him pasture his animals, when he was the owner of the Puerta de Piedra and his compadre too.
At first he didn't do anything because he felt compromised. But later, when the drought came, when he saw how his animals were dying off one by one, plagued by hunger, and how his compadre Lupe continued to refuse to let him use his pastures, then was when he began breaking through the fence and driving his herd of skinny animals to the pasture where they could get their fill of grass. And Don Lupe didn't like it and ordered the fence mended, so that he, Juvencio Nava, had to cut open the hole again.
So, during the day the hole was stopped up and at night it was opened again, while the stock stayed there right next to the fence, always waiting-- his stock that before had lived justsmelling the grass without being able to taste it.
And he and Don Lupe argued again and again without coming to any agreement.
Until one day Don Lupe said to him, "Look here, Juvencio, if you let another animal in my pasture, I'll kill it."
And he answered him, "Look here, Don Lupe, it's not my fault that the animals look out for themselves. They're innocent. You'll have to pay for it, if you kill them."
"And he killed one of my yearlings.
"This happened thirty-five years ago in March, because in April I was already up in the mountains, running away from the summons. [...] It's been that way my whole life. Not just a year or two. My whole life."
And now they've come for him when he no longer expected anyone, confident that people had forgotten all about it, believing that he'd spend at least his last days peacefully. "At least," he thought, "I'll have some peace in my old age. They'll leave me alone."
He'd clung to this hope with all his heart. That's why it was hard for him to imagine that he'd die like this, suddenly, at this time of life, after having fought so much to ward off death, after having spent his best years running from one place to another because of the alarms, now when his body had become all dried up and leathery from the bad days when he had to be in hiding from everybody.
Hadn't he even let his wife go off and leave him? The day when he learned his wife had left him, the idea of going out in search of her didn't even cross his mind. He let her go without trying to find out at all who she went with or where, so he wouldn't have to go down to the village. He let her go as he'd let everything else go, without putting up a fight. All he had left to take care of was his life, and he'd do that, if nothing else. He couldn't let them kill him. He couldn't. Much less now.
Analysis
Analyze the text you have just read using the concepts studied in chapter 1.5