At Play in the Fields of the Lord

by Peter Matthiessen

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Cultural Superiority and Hypocrisy

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At Play in the Fields of the Lord melds together a tapestry of themes that Matthiessen had previously woven through his earlier works. It revisits the blurred lines of political allegiance seen in Partisans (1955) and delves into the human search for acknowledgment and belonging as explored in Raditzer (1961). These themes are intertwined into a dense and captivating narrative. The story chronicles the ill-fated mission of the Martin Quarrier family as they venture into the untamed heart of the Peruvian jungle to evangelize the Niaruna Indians.

As their noble mission crumbles, so too do the ideals that propelled them forward. Matthiessen crafts a searing critique of the arrogant, self-satisfied evangelists and the false sense of cultural superiority that prompts the so-called "white man's burden." Yet, his narrative surpasses a simple sociological critique. In the oppressive heat of the South American wilderness, the social conventions that support the characters begin to evaporate. This transformative process shifts the novel's lens from examining cultural relativity to scrutinizing personal identity within that culture.

This narrative evolution occurs through a gradual redirection of focus from Martin Quarrier to Lewis Moon, who emerges as the novel’s pivotal figure. The reader is drawn into the depths of Moon's journey, which becomes the primary narrative thread, revealing the intricate interplay between individual identity and cultural milieu.

Personal Identity and Cultural Conflict

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Moon, a man caught between worlds as a half-breed Cheyenne turned mercenary, finds himself at the volatile crossroads of clashing cultures. Cast aside by an American society that refuses to claim an "Injun," Moon adopts the life of an outlaw. Yet, destiny thrusts him into a harrowing dilemma: to obliterate the remnants of an Indian civilization he reveres, all to clear the path for the white culture he loathes. In a desperate bid to escape his torn past, he immerses himself among a primal tribe, embracing their language, customs, and beliefs as his own.

However, Moon's yearning to disappear into this newfound kinship is thwarted. His descent from the skies is heralded as a divine apparition, sealing his fate as a supposed savior and sowing discord among those he intends to protect. Ironically, Martin Quarrier's demise does not come at the hands of hostile natives but through the betrayal of "convert" Yoyo, itself a byproduct of white crusaders' influence. Moon's destiny, however, transcends irony into paradox.

Forced to enact his role as "savior," Moon must kill Aeore, the tribe's lone skeptic, whose fierce anger and keen-eyed suspicion mirror Moon's own inner turmoil. This act extinguishes not only the hope of preventing the inevitable clash of two hostile cultures—an endeavor both Quarrier and Moon pursued—but also the fragile sense of belonging to something greater. As the novel concludes, the reader is enveloped in the profound loneliness that follows the annihilation of community.

Conradian Influence

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Critics were quick to draw parallels between "At Play in the Fields of the Lord" and the works of Joseph Conrad, noting the novel's thematic and atmospheric similarities to classics such as Nostromo and Heart of Darkness. These comparisons arise from the novel's exploration of encounters between Westerners and uncharted territories, reminiscent of Conrad's focus on European interactions with primitive societies and hostile environments. The novel is steeped in a Conradian gloom, its landscape dark and sullen, inhabited by characters who, much like Conrad's own, reflect the moral complexities and inner darkness faced within themselves.

Presentation of the Niaruna

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At Play in the Fields of the Lord offers a nuanced portrayal of the Niaruna people, transcending the symbolic interpretations often found in literature akin to Conrad's work. The depiction of the Niaruna is crafted with the precision of an anthropologist and the admiration...

(This entire section contains 199 words.)

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of a naturalist, lending them a complexity that surpasses the societies represented by characters like Guzmán, the Hubens, and the Quarriers. While they are portrayed as a primitive society, the Niaruna are depicted as possessing virtues absent in these other communities, marked by their lack of imperialistic ambitions.

Although not portrayed as an ideal society, the Niaruna exhibit cultural practices that can be seen as morally complex, as exemplified by Pindi’s decision to bury her newborn daughter to enhance her son's survival chances. This difficult choice highlights the harsh realities of their environment and the pragmatic decisions required for survival. In stark contrast, the Niaruna's way of life remains untouched by the domineering tendencies of external forces, such as the Commandante's military aggression or the missionaries' fervent religious zeal. Thus, the Niaruna are presented as a society with its own integrity, standing in sharp relief against the imperialistic ambitions of the outside world.

Cultural Irreconcilability

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The central theme explored in the narrative is the profound and often tragic clash between disparate cultures. At the heart of this collision lies the irreconcilable differences between the indigenous Niaruna and the foreign missionaries who enter their world, driven by a sense of cultural superiority. These differences manifest in several layers, beginning with language barriers, as the outsiders never truly grasp the nuances of the Niaruna dialect. This linguistic divide underscores the broader chasm of understanding that extends into more complex realms such as ethics, theology, and morality.

Geographically, the Niaruna and the missionaries inhabit distinct worlds, yet it is their divergent ways of thinking and feeling that mark the most significant divide. The character of Moon exemplifies this division through his eventual immersion into the Niaruna's view of existence. For him, this oneness with nature is not merely an intellectual realization but a profound transformation in his way of being. Moon’s isolation in this newfound identity is emblematic of the insurmountable gap; even among sympathetic individuals, he finds himself unable to articulate the depth of his transformation, much like the impossibility of explaining complex concepts to someone without the foundational knowledge.

Symbolism of Influenza

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The narrative thread involving influenza in "At Play in the Fields of the Lord" serves as a poignant symbol of the insurmountable divide between cultures. This deadly ailment claims the life of Boronai and threatens the survival of the tribe, extending its lethal influence well beyond the timeframe of the story. Intriguingly, the disease is inadvertently introduced by Moon, an individual whose intentions to assist are genuine. Moon himself contracts the virus from Andy, a missionary characterized by his benign intentions. This unfortunate chain of events underscores the notion that even biological forces conspire against the harmonious integration of the primitive with the civilized world.

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