Don Tulio Montilla’s writing was created to be read in its three-dimensional temporality as stated by Ángel Lombardi (past, present and future). Their testimonies are the construction of a pleasant, entertaining microhistory, which from the present runs through historical time built anew with the imagination of each of the readers.
With his publications such as: Camino de Piedra, Lo Tótó el Abuelo and La Virgen y el Terrible Antonio. Leave Sabana de Mendoza, in a privileged place for Trujillo historiography. In this book, it is the local memory of Mendoza that is based on the Virgen del Carmen, the naughty boy, too naughty, so much so that it is the concern of the Virgin herself and of course, the railroad. He tells us that one of the main attractions for the townspeople was the railroad plaza.
Sabana de Mendoza, is a sense of belonging and love to the Catholic belief of the Virgin of Carmen, a universal devotion, in fact, it was a revelation of the prophet Elijah on Mount Carmel in Palestine. But his faith is very typical of that of his town, which feels that the Virgin was the protector of the lives of its inhabitants when yellow fever was ravaging its townspeople.
It is due to Doña Elisa, a woman of faith and good will in a time of anguish, due to the death of several relatives, including old Elías, but this was not, as is clear, the prophet. The last of his family to die from the yellow plague.
Doña Elisa, who had a painting of the Virgin of Carmen in her room, where she prayed to her and asked for everyone, faced with the death of her family members, decided to take to the streets of the town and with her friends. With the painting of the Virgin in his hand, he hangs it in the region’s chapel. It is the first time that the Virgin of Mount Carmel has arrived in Sabana de Mendoza.
Another virgin of great esteem is María Auxiliadora, from that moment this dedication was established, first of all in the town’s sentiment. Like the evolution and construction of the current temple. Even the terrible Antonio, a mischievous and tremendous boy who was said to be possessed by the devil.
Upon seeing for the first time the image of the Virgin of Carmen brought from Italy via Puerto de La Ceiba, he fainted confessing that that woman had already seen her and that she had saved him when a large, black dog attacked him. Antonio, over time, became a good man, a man of work, a family, a good father, husband and even a faithful man, he savored loneliness when he became a widower. This book by Don Tulio is a beautiful tour of Trujillo in the Lower Zone, which I invite you to read.
Literature.
MONTILLA ARANGUREN, Tulio. The Virgin and the Terrible Antonio. Tulio Montilla Editorial Fund. Valera. 2009.
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Interview with Ángel Lombardi on Don Tulio Montilla’s Literary Contributions
Interviewer: Thank you for joining us today, Ángel. Let’s dive into the essence of Don Tulio Montilla’s writing. You mentioned that his work is meant to be read in a three-dimensional temporality—could you elaborate on that?
Ángel Lombardi: Absolutely. Montilla’s writing is unique in that it intertwines past, present, and future. Each reader brings their own experiences and imagination to his stories, which allows them to engage with history in a very personal way. This three-dimensional approach creates a rich tapestry that makes the historical narrative both relatable and immersive.
Interviewer: That’s fascinating! His publications, such as Camino de Piedra and La Virgen y el Terrible Antonio, seem to draw deeply from local memory, especially in the context of Sabana de Mendoza. What makes this area significant in Trujillo historiography?
Ángel Lombardi: Sabana de Mendoza holds a special place due to its blend of local folklore, Catholic devotion, and historical events. Montilla’s stories reflect the community‘s relationship with figures like the Virgin of Carmen, who is not just religious to them but also emblematic of their struggle and hope, particularly during tragic times, such as the yellow fever outbreaks. His writing encapsulates this local memory, beautifully merging the cultural identity of the town with its historical context.
Interviewer: You mentioned the railroad plaza as a pivotal attraction for the townspeople. Could you explain its importance in Montilla’s narratives?
Ángel Lombardi: The railroad plaza symbolizes progress and connection for the residents of Sabana de Mendoza. It represents a time when the town was not merely isolated but integral to the larger regional framework. Montilla uses this setting to evoke nostalgia and highlight how such infrastructural developments changed daily lives, while also rooting his characters in a time where community ties and local stories thrived.
Interviewer: It seems that Montilla’s work is not just about recounting events; it’s about building a narrative that resonates with the heart and spirit of the people. How do you think his stories contribute to modern understanding of local history?
Ángel Lombardi: Exactly! Montilla’s stories serve as a bridge linking the past to the present, inviting readers to reflect on their heritage. His imaginative retellings allow us to revisit and reshape our understanding of history. They remind us that history isn’t just a series of dates and events but rather a living narrative shaped by the experiences of real people.
Interviewer: Thank you, Ángel, for sharing your insights into the enduring significance of Don Tulio Montilla’s work. His stories certainly seem to enrich the cultural landscape of Trujillo.
Ángel Lombardi: Thank you for having me! It’s always a pleasure to discuss the power of storytelling in preserving our collective memory.
Ou mentioned the deep connection between Montilla’s writing and the figure of the Virgin of Carmen. Can you tell us more about how this character influences the people’s lives in Sabana de Mendoza?
Ángel Lombardi: The Virgin of Carmen is more than just a religious symbol for the residents; she embodies hope and protection. During the yellow fever epidemic, for instance, her image became a source of solace for families like Doña Elisa’s, who turned to her during desperate times. Montilla beautifully captures this sentiment in his narratives, illustrating how the Virgin was central to the community’s faith, bringing people together and inspiring acts of devotion, such as Doña Elisa hanging her image in the chapel. This act reflects a profound sense of collective memory and the communal bond that flourishes through shared beliefs.
Interviewer: That’s very touching. And what about the character of the Terrible Antonio? How does he fit into this cultural tapestry?
Ángel Lombardi: Antonio represents the human experience of transformation and redemption. Initially portrayed as a mischievous boy, his encounter with the Virgin leads him on a path of personal growth. His story is not just about overcoming his past but also illustrates the broader theme of community, resilience, and the search for belonging. Montilla uses Antonio to show that even those perceived as ‘terrible’ can change when touched by faith or a significant event. His evolution resonates with the readers, reflecting the idea that everyone has the potential for change, particularly within the nurturing embrace of their community.
Interviewer: It sounds like Montilla’s works are not only significant for their literary merit but also for their deep cultural and emotional connections. What do you hope readers take away from Don Tulio Montilla’s stories?
Ángel Lombardi: I hope readers find a profound appreciation for their own histories and those of others. Montilla reminds us that we are all part of a continuum—our past influences our present, and our present shapes the future. His stories encourage readers to reflect on their experiences, fostering a sense of connection to their roots while igniting the imagination. Ultimately, engaging with his literature can inspire a deeper understanding of both personal and collective narratives, which is invaluable in today’s fast-paced world.
Interviewer: Thank you for sharing your insights, Ángel. Montilla’s ability to weave complex narratives into the fabric of local memory and identity truly is remarkable.
Ángel Lombardi: Thank you for having me. It is always a pleasure to discuss the power of literature in shaping our understanding of history and community.
