Joseph Wheat: In search of lost
Mexico
Mexico
The Mexican is not an essence but a history.
... we're late everywhere, born when
was late in history, we do not have a past or
if we have it, we spit on his remains.
Octavio Paz, Postscript.
... we're late everywhere, born when
was late in history, we do not have a past or
if we have it, we spit on his remains.
Octavio Paz, Postscript.
The story depends on the memory of peoples. Can not be without it: if it is forgotten, simply disappears. Similarly, a nation that ignores history, however brief, can not fit into the dynamic of humanity, it would be irretrievably lost in the confusion of mixed races, colonialism, influences, wars, worldviews, ideas. The loss of historical consciousness is the loss of roots. How can you go ahead a nation that consciously discarded their cultural past? How can be combative, if your State provides official versions of the story very far from reality?
"All the stories of all the peoples are symbolic [...]: history and its events and characters refer to another hidden history are the visible manifestation of a hidden reality "(Paz, 1979: 114). However, witnesses are not always the chroniclers. Between what they see and what they think stands a wall of repression. This is where literature in this space between the seen and thought to give a speech: metaphor. It is with the metaphor, with this translation of meaning can be stated as reality, although it should be clear that the metaphor is not to break the Mexican reality, but the way it has been expressed. Official speeches, while apparently defending the national unity or nationalism, actually advocate for an idea of \u200b\u200bprogress that literally sweeps the cultural past. Nationalism is a vacuum, without foundation, which takes as its flag to the Revolution of 1910, but actually have a commitment to it. Pure demagogy to trap unwary. But the writer, who in the midst of his fiction is honest, offers alternatives and positions his speech before the official discourse, unmasked.
As stated Bartra (1987), Mexico is a pipe dream as artificial in the actual situation there. "The character of Mexico, like any other town, is an illusion, a mask," says Paz (1979: 113), "at the same time, he continues, is a real face. " The construction of the Mexican character responds to the concern to establish a national unity. "The Mexican, Bartra says, is an expression of the dominant political culture." That is, the dominant political culture decides what is Mexican, taking and manipulating what is best, leaving what is not helpful. Although typical behaviors can be located, what matters is not what Mexican out, what matters is to clarify the origin of our cultural past. Without history there is no nation, just people gathered in one place.
And the search is what drives cultural past Joseph Wheat, Fernando Step. Taking as anecdotal the Christ War situation and the railroad movement of 1960, the novel moves between past and present, and also develops in this coming and going of Joseph Wheat, and the search for him. In fact, the search for Joseph Wheat is the central theme of the novel, because this character turns out to be the link between the past and present Mexican. Joseph Wheat is not only a man who jumped from a moving train and change of shoes by accident, is a man who flees and is sought after, a man walking along an axis synchronous leaving traces of his footsteps, leaving evidence to be found, although subject to death. Joseph Wheat came from a past alter the cosmic order of things. It is unlucky and can not be ignored. Is that another Mexican past devoured by development.
In the history of nations there are always secrets to be relegated to the dark, like the student movement of 1968 or 1971. There is a Mexico lost in Mexico, a Mexico diluted in official Mexico. Fernando del Paso senses the presence of the marginal Mexico, Translucent, gossip, and it shows. But as is almost incomprehensible, needs a context in which to set, so that when the wind blows, Mexico will not be flying.
The search of the cultural past is a movement context social: that of the railroad, which occurred in 1960 [1]. This movement was not isolated, teachers, oil, telegraph, and other labor unions also protested against the authorities respectivas2. The main demand was to increase wages. The motion, introduced in the novel as a context, it works, at once, as a pretext for expounding the idea of \u200b\u200ba forgotten past in front of a bewildering present, since the motion was eventually defeated and silenced in official speeches, and not only that: Nonoalco-Tlatelolco, the scene was transformed, no longer hostel dwellers, standing like a housing estate in what today is the Plaza de las Tres Culturas. Plants railroads were dismantled, and the movement was not even a memory, rather than newspapers and books that nobody reads.
railroad movement, according to Antonio Alonso (1979: 10), had its origins in the failure of the Revolution, or rather, failure of it as social revolution, because as most successful political revolution. The masses that gave strength, the peasants became workers, did not change their socioeconomic situation, only the displaced. Class struggle, therefore, intensified in the unions. The railroad ignored their leaders and organized voting for set to those who supported them in their struggle for increased salarios3, although it should be noted that
The fight involved a duality of purpose: your goals
were not strictly economic , the conflict appeared
also as an emerging (but real) control of
working class. Its objectives were, first, to achieve
wage increases, and secondly, in getting the revocation
leaders they had been betrayed. (Alonso, 1979: 116)
In the novel, the environment, scenery railroad is constant. Everything happens crisscrossed with railroad tracks. From the time I reached Nonoalco-Tlatelolco, walking the roads asking for Joseph Wheat, the prospect of roads stretching to the horizon invades the mind of the characters:
I looked or not I looked for the sun - or the moon? - gave
eyes and I was walking in her eyes between tracks
rusty rotten sleepers which had long
did not run the freight trains from 1900
twenty-eight arrived at the old station Nonoalco [...]
I ever larger in their eyes, he increasingly large
in mine, and the two looked at each other and I asked him:
Did Joseph Wheat? (Pass, 2000: 12) 4
Where the trains were coming, coming men. Including Jose Trigo.
The railway is an important motif in the novel, as it also represents an element of Mexican history has been lost. In Chapter 8 of the first part is sung to the glory of the railway: an ode (ode or run, Walloon, tune, inventory, romance, aria) which alludes to the greatness of this machine as a means of transport, communication and trade. Where will the train go civilizations, where the train is going progress.
And the railroad grew and spread, and his side were born
that although people were initially formed by
tambarrias, gambling dens and saloons, is said as says, "and
gallaruza populated by people, by children with correntones
crecedera clothes were after and pristine large cities. (2000: 222)
But the railroad was not for official use only, also had a subversive use during the Revolution, therefore, is an element that unites the two Mexicos, but keeps the marginal, as the train, over the years, was dismissed as alms for the masses.
because the revolution was made by train.
For shipyards and slides were the train windows. pockets
was the doors of the train. Shields were the wheels of the train.
Presidia were the locomotives of the train. Walls were
train cars. Barracks were the train stations. And pa-
Rapet platforms, trenches and embankments corbels,
predator train shelves. (2002: 231-232)
Over time, the office of the railroad was waning. Lost not only a means of transport, also missed a social group. Fernando del Paso metaphors cultural past loss of fruitless struggle with the railroad. In the novel, the railroad movement already well advanced explodes story near the end, because the movement itself is not the most important. What matters are the reasons, not the event, regardless of their interference in a chain of events, which precedes it and what happens.
In the novel, the movement has its leading railroad Luciano, grandson of the old and the old Buenaventura Todolosantos:
January 15, 1960
leaders are chosen sections of the Union
Railway from shortlists finalists for each section. It
Luciano designates as suitable representative of the section
for Nonoalco-Tlatelolco. Will it deliver on its come-
Tido? Yes, it is imbued with its obligations. Sea
Serenity. (Del Paso, 2000: 127)
Throughout the narrative relates how Luciano was involved in the union and the cause of the railroad. He had earlier lived in the volcano of Colima, Cristero war, where his grandfather Todolosantos became leader of a group of Cristeros. Leader will be played as an inheritance, as a predestination, but a leader of lost causes, a martyr of the impossible. More so if his death was not the cause but of vanity, that is, death was individual and not collective. But his death at the hands of Manuel Angel, was the stimulus for the masses. The fall of the leader made the railroad act, although without a leader, could not get very far.
The lifting railroad is located in Nonoalco-Tlatelolco, has long suffered, over its history of bloody battles, both physical and ideological. It is the site of the clash, the space where opposites meet. First, the Aztecs and the English, then the bourgeoisie and the proletariat, and finally, students and the oppressive apparatus of government. Nonoalco-Tlatelolco is the battlefield is the place to find the remains of the culture, it is "one of the roots of Mexico" (Paz, 1979: 148) José wheat was coming, coming back. It came with the weight of Mexico ignored. He came to bother with the truth.
Since its founding in 1337, Tlatelolco was framed by the dissent: the Mexican group seeking their independence founded Tenochtitlan. Their source denotes rebellion, opposition to the official structure. But as always marginal minority, Tlatelolco was treated again for Tenochtitlan. It was in that city, the Templo Mayor, where he executed the massacre of indigenous people during the feast of Tóxcatl5. But this massacre, an example of English barbarism, scarcely mentioned in official speeches, but note that in 1521, was fought the last battle between the Aztecs and English, in Tlatelolco. After being defeated, the English became stronger and took the Plaza Mayor, where he had "seven senior cues and shrines" (Chronicles of the Conquest, 1987: 148). During the colonial period, the Hispanic area was obscured by the European architecture as
... would build the new city on the city
old, new temples of old temples, and
new diseases and ailments of the spirit and the flesh
ruineras and annealing on the old. (2000: 272-273)
The indigenous world survived as vestiges a shadow of himself. Some temples were allowed to remain standing at the end that had been looted in the end that no one would visit. So the Catholic church was erected: the church of Santiago Tlatelolco, which was built
... taking advantage of the material that provided the great fire-
Tlatelolco measured thanks to the wealth that was found-
partnership focusing on foundations of the great temple of Huitzilopochtli
and Tezcatlipoca. (Joint Urban 1963: 148)
Already in the twentieth century, in the early sixties, President Lopez Mateos strengthens its project "Joint Urban Nonoalco-Tlatelolco" 6. Thus progress came to Mexico, dividing, as proposed by Paz in two: in Mexico developed and underdeveloped Mexico. "The developed portion of Mexico imposes its model to the other half, without realizing that this model does not correspond to our true historical reality." (1979: 107) was developed the area where the novel takes place, plants ferrocarrileras7 dismantling and relocating residents in buildings departments. In addition, the old bridge was demolished Nonoalco, and instead built an underpass. Of course, we must mention the Tower Insignia 127-meter-shaped cutting edge: a new pyramid does not resent the loss of the above. So Nonoalco-Tlateloloco, "the land of Joseph Wheat" (2000: 270), disappeared, and Joseph Wheat with it.
hundred forty-five buildings. "And the vans, the peri-
want? Eighty thousand. And the ferrocarrilenses?
Granite stairs where soapy water drains.
And aluminum tubs? film coatings
acrylic and polyester resins . And the red tablerámenes
and green, rotting, the pots with bluebells, the
barracks, the orphanage? (2000: 502)
is in this context and in this area which performs the search of Joseph Wheat.
Joseph Wheat is very old. Cosmic. Remote result of a thought, the same who built pyramids, the same as the symbols carved on them for their representation. For this reason, Fernando del Paso piramidal8 proposes a structure, which accomplished through the ascending and descending order of the chapters-from 1 to 9, and 9 to 1 -, locating between the two orders, a middle that acts a space where they converge. Each chapter of an order, in turn, corresponds to its namesake, if it is permissible to call it that, the other order, both in structure and theme.
The pyramid structure has a connotation important in the search of the cultural past. Paz said that "Mexico stands between two seas like a huge pyramid truncated" (1979: 117), that is, that the Mexican pyramids give the impression of being incomplete because they do not point to the sky. But it is only an impression, they are actually complete, because its design embraces the entire space:
archaic archetype of the world, geometric metaphor
cosmos, culminating in a Mesoamerican pyramid space
magnetic : platform-sanctuary. It is the hub of the universe,
the site crossing the four cardinal points, the
center ring: the purpose and principle of motion.
(1979: 117)
The search for our past (the past that does not happen) goes back to the pyramid, a synthesis of indigenous thought. Such thinking was governed by the solar cult, whose continuity needed the blood of prisoners war. The slaughter perpetuated the domination of the Fifth Sun, ie the domination of the Aztec Empire. When the English arrived, Moctezuma he inherited the power of the Mexican nation to Cortes, and who mistook him for Quetzalcoatl. The Empire of the pyramid continued, only a change of emperors.
The pyramid shows the existence of indigenous thought that seeps subtly in all events in the history of Mexico. In the story, Joseph Wheat is infiltrated, the strange, the eccentric reversal of fortune for each change of shoes, but that brings with it the seeds of the old stuff. West camp residents reject it, as they reject the pyramid-thought without notice, and without realizing that the pyramid does not always there, holding sway in its history. Thus, both the ascending and descending in use two historical facts: the Christ War and railroad movement of 1960, as well as develop the drama of Joseph Wheat, Luciano, from Hedwig and the rest of the characters living in camps located in West and East Nonoalco-Tlatelolco.
The middle part, which is written by way of Aztec legend, is where you reveal the roles of the characters and all situations where of the novel intersect. Aztec cosmogony serves, therefore, a meeting point between the two orders, but not only that: it is its source: it come from and return it.
I started with a flower. Golden flower, chrysanthemum, golden flower
as raw golden mistletoe refers to all ar-
bowls and all the legends of the world, because trees are
pine, Naranjo, the Ash and Cedar, and here are their
legends here in Nonohualco in Nonohualico, place
rooms, all with water. (2000: 245)
Therefore, the search for José Trigo be understood as the pursuit of Mexican cultural history, which is expressed in the Aztec legends. In fact, Joseph Wheat, as a character that flies, is related to Xolotl reluctant Aztec god of death, and fearing she morphs into corn, maguey, turkey, tejolote, axolotl. Xolotl is also the twin brother or a species the alter ego of Quetzalcoatl, but the novel is represented in Lucian, the leader of the railroad section-Tlatelolco9 Nonoalco. Then, Jose Trigo and Luciano are linked, their stocks are parallel, they are representations of the same deity, and each of them, together or separately, is an element of Mexican culture has been lost. Find Joseph Wheat, however, is not looking for Luciano, or find Luciano José Trigo is to find, but somehow when looking at first looks for the second, and to find the second one is the first.
The search for Joseph Wheat takes the form of a question:
Did Joseph Wheat? (2000: 11)
Who asks this question? Yo. A self that is transferred to each of us through reading. It is a game of Del Paso. We read in first person, then we read. We are the narrator: I'm me. I am looking for Joseph Wheat Nonoalco-Tlatelolco, in Mexico it is also lost mine, but I forgot. Now I remember, and I want it back, but Joseph Wheat sneaks, I can not reach it.
that I ask for Joseph Wheat. Ask and tell me:
Buenaventura the little mother knows its history. And I pre-
Buenaventura prompted for the little mother and I say, it
is the way, walk along the tracks. And I walk through the
way and step ballasts for blast furnace slag, the
ash ballast round houses shining like
sparks in the night coming from the North Star and
South. (2000: 409).
Joseph Wheat is always moving, so it is difficult to achieve. The middle, the bridge is attached to each of the parties by Joseph Wheat walking between them. Jose Trigo cross the bridge, and in doing so it runs through the thirteen heavens of the Aztec cosmogony. Thus, is inserted into the cosmic order are revealed all the secrets. Luciano sees as Quetzalcoatl, Manuel Ángel as Tezcatlipoca, Bonaventure as Nanantzin. Discover the indigenous past and becomes the link between the glorious past our distorted reality.
Then I will see and be seen, though I'll be (I said and
told me the nine lords of the night, the thirteen birds
day), Joseph Wheat all eyes, all seeing is believing. (2000: 255)
But Joseph Wheat runs away "with the way the deer" (Aztec Myths: 71) when she witnesses the murder of Luciano, perpetuated by Manuel Angel, his bitter rival.
"Excited? Disquietude, convulsive! And why not! If ape-
nas fell Luciano, Manuel Ángel saw Joseph Wheat, which
was seeing. More tremulento that if I had malaria, mos-
co acrobat, or standing in quicksand. And come on, José
Wheat. Run! Calcorrea! Desálate! Exhálate! Pica- sole
ta! That this is going in life. And they chased, chased the
distance. Fortunately, a train came, would under the -
Nonoalco Bridge. Joseph Wheat jumped the tracks in time.
(2000: 469)
And it goes with the burden of ancient Mexico, of Mexico buried, crushed by churches and buildings. It is escaping from certain death at the hands of Manuel Angel, as you would Xolotl, the god fugitive. According to one version of the legend of the Fifth Sun, Xolotl was the only god who refused to be killed to give dynamism the newly formed stars, the sun-and moon-Nanahuatzin-Tecuciztecatl:
Ehecatl craft then went to kill the gods. And
refers Xolotl not want to die. He said the gods:
- Do not let me die, oh gods!
cried So far, he swelled eyes, swelled the
eyelids.
He was approaching death, before she got up, fled,
got into the land of green corn, he extended his face, is
transformed, stayed in a double corn stalk divided ,
which the peasants call the name of Xolotl. But -
there in the sowing of maize was seen. Again rose
before them, went to get a field of maguey. also
also became maguey, maguey, which twice in perma-
necessary, the agave called Xolotl. But also once again
also was seen and got into the water and wine to become
salamander in axolotls. But there came to pick it up and gave
death. (León Portilla 1984: 65)
According to another version (Aztec mythology: 71-74), Xolotl was the last Aztec god of the old order, which ruled deities in animal form. With the advent of the Fifth Sun began a new era, in which the gods were the stars of heaven. But for the Court to initiate the new phase, the previous gods must die. Xolotl flees, the last link with the previous culture, or the previous order. Similarly, José Trigo flees his death because his death would only link the disappearance of our cultural past. The difference between Xolotl and Joseph Wheat is the second no morphs, but it leaves traces of their passage: shoes. In fact, this is the transformation of Joseph Wheat: the constant change of shoes.
1 April 1960
Behold Joseph Wheat holds a titanic effort and jumps
of a train where you forget your shoes full of batons, and campaign
golondro of the Hedwig van.
April 4, 1960
cage in hand, leaving Joseph Wheat, cantimpla and gullible, the van
of Hedwig the third day of their stay, premiering large
old shoes with new templates. (2000: 147)
November 2, 1960
Joseph Wheat has a box for the second time, the Pes- Funeral
er. Look, his eyes bursting as ovezuelos, which
will lose, he will leave the camps. Dead?
Alive? Who knows. That day, lost a shoe.
November 3, 1960
José Trigo found in a trash can, a brown shoe.
He fits. [...] Now has a shoe of one color and another
another eccentric. (2000: 365)
But the relationship between Joseph Wheat Xolotl and becomes more evident when the parallels between Joseph Wheat and Luciano appears. Luciano's life is complicated in 1960, the year he came West Camp Joseph Wheat. Joseph Wheat is a bird of ill omen, and the year was a fateful years. "Since this man was the worst happens to us" (2000: 187), people say. And while Luciano does not pay much attention to Joseph Wheat, and Wheat José Luciano, there is something elemental that binds crossed the same road, the two crossed the thirteen heavens to move from one camp to another, just as he crossed first Luciano after Joseph Wheat, as following in his footsteps to witness his death.
According to Bartra, Xolotl is the double of Quetzalcoatl, so there is a third version of the legend of Xolotl, and is as follows:
There is another version of this myth, which some historians
oldest considered, that Xolotl was the Incarnation-
Gado of sacrifice to the gods, opening the chest with a
knife, after which he killed himself. (1987: 99)
Thus, Xolotl is like the hero of legend, and not a coward god, which is slightly disrupts the official discourse of the legend of the Fifth sol10. And is that even the Indian legends have been manipuladas11. Quetzalcoatl has gone down in history as the highest deity of pre-Columbian world, and indeed it was. But what is not clear that this same deity had several performances: as the morning star or Venus, as the sun, Tonatiuh, as the Lord of the Dead, Mictlantecuhtli, such as wind, Ehecatl, as the feathered serpent Quetzalcoatl, and as an obscure and weak who live in the Land of the Dead or Mictlan, Xolotl. Xolotl is less glorious representation of Quetzalcoatl, but no less valuable. Séjourné says:
It would seem that Xolotl, which lies task
ungrateful to face the ultimate reality, is the chrysalis [...]
Morning Star of the future. The image of the chrysalis
is nothing free because, in addition to in- aspect
and hidden forms under which always represents this
dark character, there is the fact that the butterflies
sa sign of fire is one of the emblems of the soul.
(1984: 158)
Luciano-Quetzalcoatl, to be killed, go to Mictlan, where he became Xolotl. However, José Trigo witnesses the death of Luciano: Xolotl is there when Quetzalcoatl falls. In that moment, Xolotl assumes its role of protecting the spirit of the morning star, until dawn. But we must always understand that Quetzalcoatl Quetzalcoatl, only transformed. In the novel, realizing that José Manuel Ángel Wheat has seen him, chasing him, and then looking like Luciano sought to kill him. That is, José Wheat has to deal with its flight and the flight of Luciano, which is logical since he first brought disgrace to the second.
José Trigo-Xolotl, Mexico is marginal to be brewing as the wind (Ehecatl) between the official discourse. Luciano-Quetzalcoatl unwittingly becomes the hero of the railroad, who misinterpret his death, and mystify.
Fear was crumbling the courage that had risen
between them as high as a mountain. Stone by stone, pa-
for word styles were falling from your mouth to the -
bottom of their guts. All the words had been taken into
the tip of the tongue: "See him," It is Luciano "," is dead "
" These pigs have been avenged, "he were falling and amon-
tonando and forming another mountain: some day they would hover-
is again going to say: "We revenge on those pigs
because he's dead. Is Luciano. Check it out. " (2000: 488)
Thus, Quetzalcoatl became history while Xólolt still fleeing, with our cultural past in tow and with the vestiges of ancient Mexico, the Mexico that blows whispers tickling The nonchalance of the top. Of Mexico that is wind and sings with scrolls.
And we are still looking.
Jessica Nieto
[1] Antonio Alonso (1979) puts it in 1958-1959.
[2] "... the telegraph began acts of slowdowns in protest because he had not heeded a petition for wage increases that had occurred since September 1957. [...] The strike broke out on 6 February, affecting 723 country offices. " (Alonso, 1979: 102). "On April 8, the oil had a very eventful meeting, discussion was whether to accept an extension of the collective bargaining agreement, as proposed by the company and the union leader, Felipe Prieto Mortera. Several workers opposed to an extension. " (179, 105). "While this was happening, the same April 12 primary school teachers were evicted by police from the Zocalo in Mexico City. They were the supporters of Otto Salazar. Intended to do a rally in the building of the SEP, to insist on an application for an increase of 40% of their salaries, which had filed for 20 months. As they found the building closed SEP, went to the Zocalo, which also failed to carry out their rally. " (1979: 105-106)
[3] The railroad demanded an increase to $ 350. On June 26, 1958 initiated work stoppages, despite threats of the company. The demand was lowered to $ 250, and then to $ 215, but by then, the strikes had already caused havoc in the national economy by $ 3.500, 000 in 12 hours of inactivity. (Alonso, 1979: 115-117).
[4] Del Paso, Fernando. (2000). Jose Trigo. Palinuro of Mexico. Complete Works Volume I. FCE: Mexico. All fragments are used as examples of the novel. Henceforth, only indicate the page number in parentheses at the end of each fragment.
[5] "Well, well things while you're enjoying the party, as is the dance, it is the [...] song at that moment the English make the determination to kill people. [...] Come to close the exits, steps, entrances [...]. Things ready and immediately enter the Sacred Patio to kill people [...] When all slash, spear people and give them cuts, hurt them with swords. "Vision of the Defeated, 2002: 78 -79.
[6] This project was published as a book by the National Mortgage Bank in 1963. In this show plans, estimates and historical justification of the project. The preamble states that "'A Peaceful Revolution avoid violent revolution, 'said the President of the Republic, Adolfo López Mateos. The construction of large urban Nonoalco-Tlatelolco as part of the peaceful revolution firmly undertaken by the current regime, because their purpose is not to beautify the city, although this also is obtained, but above all, provide the economically weak groups in the population of the housing they need to lead a decent, dignified and healthy. "(1963: 7). We must take into account that this is the official discourse and in this same procolonialistas allusions are preventing sustains the idea of \u200b\u200bunity national.
[7] "How will you leave the railway workshops, workers not interested for the project" (1963: 20).
[8] José Luis Martínez explains it as follows: "The novel is conceived in two main sections, one upstream of Chapter 1 to 9, and a descending, chapter 9 to 1, between which is an intermediate, 'The Bridge'. The ascent and descent rest of this pyramid is not just a design of ancient Mexico and the vital framework of every story. Each chapter of the first part corresponds as a mirror image, in another chapter of the descending part. " (1981: 204)
[9] Although in the novel designates the albino-son of Buenaventura and the old Todolosantos-as Xolotl, since it is half brother Luciano, I establish the relationship between it and Jose Trigo says no to family ties but to a semantic meaning.
[10] Both versions of the legend are apparently different, but remember that Xolotl is an embodiment or a double of Quetzalcoatl, god of wind, and is, in the first version, just the air ( Ehécatl) who kills gods (and who gives life to the sun), while the second version is the very Xolotl-twin of Quetzalcoatl, who sacrifices to the gods. And it is the author of this second version, Fray Andrés de Olmos said Mendieta, Xolotl is the one who assigns the lead role in the legend about the origin of humanity, while the best known versions are Quetzalcoatl who descended into the realm of looking for dead men's bones, to steal them and bring them to life again. " (1987: 99-100)
[11] And not only for current politicians. Since the consolidation of their empire, the Aztecs, who had been oppressors, codices modified to appear as descendants of the Toltecs and not the chichimecas: "... the tlatoani Izcoatl, advised by the famous Tlacaélel, the Mexican architect of greatness, ordered the burning of the codices and documents old and the manufacture of other test for the Aztecs was the descendant of the lords of Anahuac. " (Paz, 1979: 137)
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