The Cost of Dreams of Utopia:Neocolonialism in Juan Rulfo’s Pedro Páramo and Cormac McCarthy’s All the Pretty Horses Susan Savage Lee The journey through unknown landscapes materializes repeatedly in the literary world; however, each quest presents various possibilities when analyzing the context and content of a character’s search. In the case of Juan Rulfo’s Pedro Páramo (1955) and Cormac McCarthy’s All the Pretty Horses (1993), the protagonists seek out Mexico as a means of developing their interior beings. More importantly, the location of Mexico as the protagonists’ ultimate destination allows for the two novels to play out the neocolonial legacy of U.S./Mexican imperial history through the characters’ utopian visions of landscape. Rulfo’s work begins with Juan Preciado’s search for his father’s legacy in Comala, Mexico. Inspired by his mother, Dolores’ romanticized images of the place, Preciado imagines that he will pick up where his father, Pedro Páramo, left off. In contrast to a utopian landscape, Preciado finds a neglected town filled with deceased townspeople who tell the protagonist all about Comala’s past. Preciado learns that his father was nothing more than a cacique who eventually abandoned the town he once controlled. In All the Pretty Horses, John Grade Cole leaves Texas to find his ideal life in Mexico. Cole, disillusioned by modernization in 1940s Texas, believes that Mexico is an untouched, primitive landscape perfect for his re-creation of the frontier myth. When Cole encounters a ranch which supports his image of what Mexico will be, he believes he has found a utopian landscape. However, as Cole and his friend, Lacey Rawlins, discover in their experiences at the ranch, Mexico also possesses modernization, exploiters of the landscape, and caciques. Although scholars have discussed these two works separately, by comparing Rulfo and McCarthy, we can read the intersection of American and Mexican history contrapuntally. For example, the history of caciquismo, the centerpiece of Pedro Páramo, illuminates the fallacy of John Grady Cole’s Westernized utopian vision in All the Pretty Horses. What links the two novels is this history of caciquismo embedded within Mexican culture and its landscape. The two protagonists, however, approach this system of inequality in different ways. Juan Preciado stumbles upon his father’s legacy through the testimonies presented [End Page 152] by the dead townspeople Pedro Páramo once oppressed. Rulfo’s novel illustrates how neocolonialism can be adopted by the marginalized in order to create a new system of domination/subjugation after the colonizer has moved on. John Grady Cole, in contrast, unknowingly becomes the colonizer as he uses the Mexican landscape to alleviate his disillusionment with American society. During this process, he is forced to witness the effects of caciquismo on the people he encounters during his journey. The emphasis on caciquismo in both novels exemplifies the reliance of native (Pedro Páramo) and non-native (Cole) characters on the universalist concepts of what it means to be civilized and modernized, and what it means to be perceived as the opposite of these values. The utopian visions of the Mexican landscape, which propel the novels’ plots, demonstrate that the neocolonial legacy of U.S./Mexican relations exists in the present moment through the interconnection between universalism and the colonial imagination. Juan Rulfo’s novel, Pedro Páramo, takes place in Comala, an idealized representation of the past inspired by the Jalisco region of Mexico. The province of Jalisco possesses forests, bays, and agave plants. The version of Comala that Juan Preciado discovers, in contrast, is a desolate town surrounded by a gray mist, a veiled horizon, and a lake that seemingly disappears (Rulfo 5). In fact, a part of the title of the work indicates that the protagonist has nothing to look forward to but a remote wasteland (páramo means wasteland). Preciado’s quest suggests his nebulous and dualistic identity. His pledge to his dying mother to seek out his inheritance presents a genealogical sense of Jean Luc Nancy’s belonging to landscape. In The Ground of the Image (2005), Nancy suggests that, “the country manifests itself as something based on a belonging, but a belonging that can...