Source: The Nation

It is hard to believe that half a century has passed since Para Leer al Pato Donald (How to Read Donald Duck), a book I wrote with the Belgian sociologist, Armand Mattelart, was published in Chile in November 1971.

We never anticipated that our essay would become an international best seller, translated into dozens of languages. It had been born, quite modestly, as a way of participating in the unique Chilean experiment of building socialism, for the first time in history, through electoral and nonviolent methods, without eliminating our adversaries. This meant that the government of Salvador Allende, which had captured the presidency in September 1970, would have to win the battle for public opinion in a situation of considerable inequality, since most of the media was in the hands of the enemies of the revolution.

In this struggle to define Chile’s identity and leave behind the obstacles and prejudices of the past, the Allende government had acquired an important asset: the most important publishing house in the country. Renamed Quimantú (“sun of knowledge” in Mapuche), it gave our peaceful revolution the means to bring out millions of books at inexpensive prices, as well as an assortment of magazines, including children’s and adult comics that would have to compete for readers in a market saturated with foreign products. If we were to devise progressive alternatives, it was urgent to probe how those imported stories worked, and Armand and I therefore set out to analyze the most popular comics in Chile—and in the world: those generated by the immense corporation founded by Walt Disney.

We decided to choose the emblematic character of Donald Duck, hoping that revealing the secret messages hidden behind his innocent and supposedly apolitical façade would inventively expose the dominant ideology in Chile. Exploring how Disney conceived of work, sex, family, success, individualism, the relationship between poor and rich countries, might help everyday Chileans comprehend how insidiously capitalism and the American dream of life were presented as the only viable ways to achieve development and prosperity. And the book became, in effect, a “handbook of decolonization,” as John Berger would enthuse years later.

The tract—conceived in 10 feverish days—caused furor and fury when it appeared. A second massive printing was soon published the next year, and a third one was ready to go on sale when General Augusto Pinochet overthrew Allende in September 1973, and all those copies were cast into the bay of Valparaíso. First water, then fire. Forty years after the Nazis had incinerated so many “degenerate” volumes, it was Chile’s turn. Days after the coup, in a safe house where I was hiding, I saw, on television, no less, a group of soldiers throwing hundreds of subversive texts into a bonfire. Among them was Para Leer al Pato Donald.

These were not the last attempts to suppress that indictment of cultural imperialism. In 1975, US customs, at the behest of Disney, seized thousands of copies of the English translation, claiming copyright infringement (we had reproduced the drawings of the comics without authorization from their owner). We won the respective trial, but, afraid that Disney would sue them, diverse American publishers refused to bring out the book, which had to wait till 2020 to finally see the light in the land where Uncle Walt and his duck had been born.

How relevant to anyone today is this youthful book, hastily forged in the midst of a revolution whose own days were numbered?

While our pamphlet suffers from limitations typical of the era in which it was born, I believe it still has something to offer readers at a time when immense social movements are questioning the neoliberal model that has generated so much inequality and injustice. Today, with so many of Earth’s inhabitants seeking to radically re-imagine the foundations of society, what I rescue most from How To Read Donald Duck is its brazenness, its sense of humor, the liberating endless energy gifted to Armand and me by a people on the move searching for their own redemption—qualities that, by one of those strange coincidences that history provides and literature delights in, can today again be observed in Chile itself where, exactly 50 years after of our book appeared, the first round of the presidential elections has just been held with a runoff four weeks from now between the two candidates who came in first.

Of the seven contenders who were in the race, the one garnering the most votes (28%) is José Antonio Kast, an admirer of Donald Trump, Jair Bolsonaro, and especially of Pinochet— an ultraconservative who personifies the traditional ideas about work, family, sex, competition and fear of change that we criticized in our book. I don’t know if Kast, who was 7 years old during the 1973 coup, saw the burning of our helpless duck on television. It is probable that his father, a Nazi officer who sought refuge in Chile after the fall of the Third Reich, celebrated those inquisitorial pyres that reminded him of Hitler’s good times. What is certain is that José Antonio Kast, who believes in returning Chile to long-established values, would not be a fan of our book. His whole campaign is based on stirring up fear of the “disorder” that “socialism” would supposedly bring.

On the other hand, Gabriel Boric, the other candidate in the runoff, who came second with 26 percent of the vote, represents a Chile that seeks to free itself from the past and create a different future of justice for all, embodying the vast contingents of protesters who—brazenly indeed—took to the streets of Chile over the past two years with such ardor and audaciousness that they imposed the need to write a new, fully democratic Constitution. Like our book, these activists have been attempting to leer Chile con ojos insurrectos—to read Chile with insurrectionary eyes. Boric and his followers dare to think, feel, and relish reality in a joyful and rebellious way that reminds me of the spirit that animated the Allendistas of half a century ago. And I note, with satisfaction, that Boric—born 15 years after our book was so violently suppressed—came to read it in his teens, when he was one of the student leaders who revolted against the inequities of the post-dictatorial period.

There is a chance, of course, that the cryptofascist Kast will manage to sow so much fear that he will become President. But Boric has a better chance, I think, to appeal to a wider coalition of dignity and courage, and lead the country to a rebirth on December 19th. If that is the case, I can only hope that How to Read Donald Duck—drowned and burned, seized and left for dead a thousand times—will itself be reborn as well in the streets of the prophetic cities of the Chile where it first saw the light five decades ago.

Born in Buenos Aires on May 6, 1942, Ariel Dorfman is an Argentine-Chilean-American novelist, playwright, essayist, academic, and human rights activist. He is the author of numerous works of fiction, plays, operas, musicals, poems, journalism and essays in both Spanish and English. His most recent books are the novels Darwin’s Ghosts and Cautivos, as well as the children’s story, The Rabbits’ Rebellion. He contributes regularly to major newspapers and magazines around the world and is active in the defense of human rights.


ZNetwork is funded solely through the generosity of its readers.

Donate
Donate
Leave A Reply

Subscribe

All the latest from Z, directly to your inbox.

Institute for Social and Cultural Communications, Inc. is a 501(c)3 non-profit.

Our EIN# is #22-2959506. Your donation is tax-deductible to the extent allowable by law.

We do not accept funding from advertising or corporate sponsors.  We rely on donors like you to do our work.

ZNetwork: Left News, Analysis, Vision & Strategy

THE WIND CRIES FREEDOM

The Wind Cries Freedom, the new book from Z co-founder Michael Albert, is a sweeping oral history of a future American revolution.

Through thirty interconnected chapters, it draws out the strategies, failures, turning points, and hard-won wisdom of a movement that called itself the Revolutionary Participatory Society. These are not the polished memoirs of politicians: they are the unfiltered accounts of people who organized in neighborhoods, hospitals, universities, stadiums, courthouses, and places of worship, and kept a shared vision alive through cynicism and exhaustion.

The result is speculative political fiction that reads like history: messy, human, and quietly hopeful in the way that only real experience and long thought can produce.

Get your copy and peruse more features on the book’s website below.

“Read it, argue with it, but don’t look away. The future it recalls is one we must still fight to deserve.”

Yanis Varoufakis

“The most unusual and intriguing combination of prophecy, manifesto, and movement building manual that I have ever encountered.”

Bill Fletcher Junior

“This work fills a huge gap in our social movement literature.”

Cynthia Peters

Subscribe

All the latest from Z, directly to your inbox.

This is your article this month.

We’re glad you keep coming back. If Z’s work has informed, challenged, or inspired you, that’s no accident: there are no paywalls, no ads, and no billionaire owners here, and there never will be. Independent media survives because readers choose to support it.

Billionaires fund their own media. We fund ours. Help us reach 1,000 sustaining donors:

Number of donors694
Our goal1,000

Sustainers at $9/month or more receive the digital Z Magazine.

Already a sustainer? Click here and we won’t ask again. Thank you!

Your reading count is stored only in your browser and is never sent to us.

Sound is muted by default.  Tap 🔊 for the full experience

CRITICAL ACTION

Critical Action is a longtime friend of Z and a music and storytelling project grounded in liberation, solidarity, and resistance to authoritarian power. Through music, narrative, and multimedia, the project engages the same political realities and movement traditions that guide and motivate Z’s work.

If this project resonates with you, you can learn more about it and find ways to support the work using the link below.

Independent media is not disappearing because the ideas are weak.

It is disappearing because platforms reward speed, outrage, and algorithmic visibility over thoughtful analysis.

More than 100,000 people read Z every month, free of paywalls, ads, and billionaire owners. It takes fewer than 1 in 100 of them to fund all of it: 1,000 donors who keep Z independent, for everyone, and build what comes next.

Number of donors694
Our goal1,000

Sustainers at $9/month or more receive the digital Z Magazine.

Subscribe

Join the Z Community – receive event invites, announcements, a Weekly Digest, and opportunities to engage.

OUT NOW: "The Wind Cries Freedom" by Michael Albert

Exit mobile version