Tears Do Not Flow from a Handkerchief
Soccer, metaphor for war, at times turns into real war. Then "sudden death" is no longer just a name for a dramatic way of deciding a tied match. These days, soccer fanaticism has come to occupy the place formerly reserved for religious fervor, patriotic ardor, and political passion. As often occurs with religion, patriotism, and politics, soccer can bring tensions to a boil, and many horrors are committed in its name.
In 1969 war broke out between Honduras and El Salvador, two small and very poor Central American countries that for more than a century had been accumulating reasons to distrust one another. Each had always served as the magical explanation for the other's problems. Hondurans have no work? Because Salvadorans come and take their jobs. Salvadorans are hungry? Because Hondurans mistreat them. Both countries believed their neighbor was the enemy, and the relentless military dictatorships of each did all they could to perpetuate the error.
This war was called the Soccer War because the sparks that set off the conflagration were struck in the stadiums of Tegucigalpa and San Salvador. The trouble began during the qualifying rounds for the 1970 World Cup. There were tussles, a few injuries, several deaths. A week later, the two countries broke off relations. Honduras expelled a hundred thousand Salvadoran peasants who had always worked in that country's plantings and harvests; Salvadoran tanks crossed the border.
The war lasted a week and killed four thousand people. The two governments, dictatorships forged at a U.S. factory called the School of the Americas, fanned the fires of mutual hatred. In Tegucigalpa the slogan was "Honduran, don't sit still, grab a stick and a Salvadoran kill." In San Salvador: "Teach those barbarians a lesson." The lords of land and war did not lose a drop of blood, while two barefoot peoples avenged their identical misfortunes by killing each other with abandon.
The End of the Match
The ball turns, the world turns. People suspect the sun is a burning ball that works all day and spends the night bouncing around the heavens while the moon does its shift, though science is somewhat doubtful. There is absolutely no question, however, that the world turns around a spinning ball: the final of the '94 World Cup was watched by more than two billion people, the largest crowd ever of the many that have assembled in this planet's history. It is the passion most widely shared: many admirers of the ball play with her on fields and pastures, and many more have box seats in front of the TV and bite their nails as 22 men in shorts chase a ball and kick her to prove their love.
At the end of the '94 Cup every child born in Brazil was named Romà rio, and the turf of the stadium in Los Angeles was sold off like pizza, at twenty dollars a slice. A bit of insanity worthy of a better cause? A primitive and vulgar business? A bag of tricks manipulated by the owners? I'm one of those who believe that soccer might be all that, but it is also much more: a feast for the eyes that watch it and a joy for the body that plays it. A reporter once asked German theologian Dorothee Sà lle, "How would you explain happiness to a child?"
"I wouldn't explain it," she answered. "I'd toss him a ball and let him play."
Professional soccer does everything to castrate that energy of happiness, but it survives in spite of all the spites. And maybe that's why soccer never stops being astonishing. As my friend à ngel Ruocco says, that's the best thing about it -- its stubborn capacity for surprise. The more the technocrats program it down to the smallest detail, the more the powerful manipulate it, soccer continues to be the art of the unforeseeable. When you least expect it, the impossible occurs, the dwarf teaches the giant a lesson, and a runty, bowlegged black man makes an athlete sculpted in Greece look ridiculous.
An astonishing void: official history ignores soccer. Contemporary history texts fail to mention it, even in passing, in countries where soccer has been and continues to be a primordial symbol of collective identity. I play therefore I am: a style of play is a way of being that reveals the unique profile of each community and affirms its right to be different. Tell me how you play and I'll tell you who you are. For many years soccer has been played in different styles, unique expressions of the personality of each people, and the preservation of that diversity seems to me more necessary today than ever before. These are days of obligatory uniformity, in soccer and everything else. Never has the world been so unequal in the opportunities it offers and so equalizing in the habits it imposes. In this end-of-century world, whoever does not die of hunger dies of boredom.
For years I have felt challenged by the memory and reality of soccer, and I have tried to write something worthy of this great pagan mass able to speak such different languages and unleash such universal passion. By writing, I was going to do with my hands what I never could accomplish with my feet: irredeemable klutz, disgrace of the playing fields, I had no choice but to ask of words what the ball I so desired denied me.
From that challenge, and from that need for expiation, this book was born. Homage to soccer, celebration of its lights, denunciation of its shadows. I don't know if it has turned out the way soccer would have liked, but I know it grew within me and has reached the final page, and now that it is born it is yours. And I feel that irreparable melancholy we all feel after making love and at the end of the match.
Eduardo Galeano is one of Latin America's most distinguished writers. He is the author of a three-volume history of the Americas, Memory of Fire , and most recently, a history of humanity, Mirrors, as well as Children of the Days: A Calendar of Human History. He is the recipient of many international prizes, including the first Lannan Prize for Cultural Freedom, the Casa de las Americas Prize, and the First Distinguished Citizen of the region by the countries of Mercosur. These excerpts are taken from Soccer in Sun and Shadow, his 1997 book, translated by Mark Fried, and updated to include World Soccer Cup matches through 2010.
Excerpted from Soccer in Sun and Shadow. Copyright 1997 by Eduardo Galeano and Mark Fried, translation. Published in paperback by Nation Books, 2013. Published in ebook by Open Road Media, 2014; available wherever ebooks are sold. By permission of Susan Bergholz Literary Services, New York City and Lamy, New Mexico. All rights reserved.
Follow TomDispatch on Twitter and join us on Facebook and Tumblr. Check out the newest Dispatch Book, Rebecca Solnit's Men Explain Things to Me.
(Note: You can view every article as one long page if you sign up as an Advocate Member, or higher).
1
1
1
