Di Benedetto's haunting tale is dedicated to the “the victims of expectation”
in Asunción. Today the capital of Paraguay, it was once an early colonial hub but by the end of the 18th century had become a backwater, the end of the line in a Spanish empire fast approaching the end of its time. Diego de Zama, the legal adviser to the governor, is a man with a brilliant past but, he confesses, now “subjugated by circumstances and without opportunities”.
In “Zama” he created a haunting novel about solitude and self-destruction that is both earthly and oneiric. Di Benedetto was influenced by Dostoyevsky and Kafka. But he also had much to say about the Latin American condition. “Zama” is dedicated to, which Ms Allen translates as “the victims of expectation”, though the Spanish also means “the victims of waiting”.
They were there, too, in a geographical vastness, but in a social world of cloying smallness, of daily encounters “repeated over many months and long years”. In this world, recognisable still in the provinces in Latin America, money and race count for much but status even more. Indians and mulattos are exploited and subordinate, but also valued for their knowledge . Zama is an, of Spanish parents but born in America and thus barred from the top posts in the Spanish administration.
An early admirer said of “Zama” that it is “a deliberate refutation of the very idea of the historical novel”. In place of baroque magic realism, Di Benedetto writes in sharp, modern, deceptively simple prose. Without proposing to be so, he was a bridge between Jorge Luis Borges, with his mental labyrinths, and Roberto Bolaño, a peripatetic Chilean whose work explored both the condition of the writer and chronic violence in Latin America.
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