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By Ignacio Martín-Baró

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I called that cursed Hamburg-American Line four times. ” “They didn’t have any more third-class passage, so I had to take the steerage—” “Yes, now I know. That’s all very well. That couldn’t be helped. I came here anyway. The last boat. And what do you do? You refused to recognize me. ” He dropped his elbows down on the rail, averted his angry face. ” “I’m sorry, Albert,” she stroked his arm humbly. ” “And as if those blue-coated mongrels in there weren’t mocking me enough, you give them that brat’s right age.

All day her decks had been colorful, a matrix of the vivid costumes of other lands, the speckled green-and-yellow aprons, the flowered kerchief, embroidered homespun, the silver-braided sheepskin vest, the gaudy scarfs, yellow boots, fur caps, caftans, dull gabardines. All day the guttural, the high-pitched voices, the astonished cries, the gasps of wonder, reiterations of gladness had risen from her decks in a motley billow of sound. But now her decks were empty, quiet, spreading out under the sunlight almost as if the warm boards were relaxing from the strain and the pressure of the myriads of feet.

The sources of this interior world remain mysterious as their effects are most inspiring. Yet Roth never falls into lyrical expansiveness for its own sake, the usual style of romantic autobiographical novels (say Thomas Wolfe’s Look Homeward, Angel). Roth’s book is always firmly under control. Perhaps the novel is almost too tightly plotted when we come to the seemingly final explosion between the parents that leads David to run away and to seek a burst of light. This is meant to be his epiphany, the self-discovery leading to the artist he will become.

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Accion y Ideologia by Ignacio Martín-Baró

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