Furthermore, they anticipate and inform the environmentalism of Spanish American literature in particular and, as such, ought to be considered an essential element of environmentalist discourse in general, especially if that movement wishes to include local perspectives on such a globally important ecological asset as the Amazonian selva. El hombre ech una veloz ojeada a su pie, donde dos gotitas de sangre engrosaban dificultosamente, y sac el machete de la cintura.
Salt adelante, y al volverse con un juramento vio una yararacus que arrollada sobre s misma esperaba otro ataque. These works are precursors to the literary environmentalism of Sepulveda's novel and deserve a place in the canon of the novela de la selva. Horacio Quiroga El hombre pis algo blanduzco, y en seguida sinti la mordedura en el pie. However, I propose a counter-tradition in the novela de la selva genre that expresses aspects of environmentalism such as the principles of "deep ecology," the role of emotion in nature protectionism, conservationism, the rights of nonhuman nature, etc. I find that many of the well-established titles from the genre utilize a discourse of political ecology that can be characterized by its appeals to agents of the state. He also excelled in portraying mental illness and hallucinatory states. He wrote stories which, in their jungle settings, use the supernatural and the bizarre to show the struggle of man and animal to survive.
In this paper, I begin with the identification of a moment of intertextuality between Un viejo que leia novelas de amor (1989) by Chilean Luis Sepulveda and La vorágine (1924) by Colombian Jose Eustasio Rivera as an analytical motif for a reevaluation of the environmentalism and political ecologies in the Spanish American novela de la selva tradition. Horacio Silvestre Quiroga Forteza was an Uruguayan novelist, poet, and (above all) short story writer.
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