The Legend of Joaquín Murieta: A History of Racialized Violence
Like its elusive hero, The Life and Adventures of Joaquín Murieta (1854) is difficult to pin down. It has the distinction of being the first novel published in California, the first novel published by a Native American, and the first American novel to feature a Mexican protagonist. Its story draws together transformational events in the history of three nations, connecting the California gold rush with the Cherokee Trail of Tears and the Mexican-American War. It blends elements of epic, folktale, revenge tragedy, and romance—yet historians have often treated it as a factual record. It has been repurposed, and sometimes plagiarized, throughout the U.S., Mexico, Europe, and Latin America; in publications ranging from the California Police Gazette to the popular Fulgor y muerte de Joaquín Murieta (Splendor and Death of Joaquín Murieta), a play by the Chilean poet Pablo Neruda; and the 1998 Hollywood film The Mask of Zorro (in which Joaquín’s brother, played by Antonio Banderas, takes up the mask of Zorro). While few Americans today would recognize the name of Joaquín Murieta, most are familiar with figures such as Zorro and Batman, whose creators were inspired by this sensational account of vigilante justice and righteous violence. Paradoxically, John Rollin Ridge’s book (published under his Cherokee name, Yellow Bird) has become both one of the most influential and one of the most invisible novels in the history of American literature.
In addition to its profound and wide-ranging cultural influence, Joaquín Murieta is distinguished by Ridge’s formal and thematic ambitions. Formally, Ridge stretches the conventions of sensational crime fiction to plot not just the rapid and mysterious movements of his protagonist across California’s sparsely settled landscapes but also Murieta’s conflicted character and the ideological tensions between individual and collective motives. The novel’s formal idiosyncrasies—interpolating a landscape poem; jumping around in space and time; and shifting among the perspectives of Murieta, the minor characters who comprise his organization, and the men who try to hunt him down—express the social frictions at the heart of Ridge’s concerns. Meanwhile, Joaquín Murieta takes up some of the most complex themes in American literature: cultural assimilation, racist and anti-racist violence, the tension between ethical and political action, and—perhaps most centrally—philosophical questions about the legitimacy of state and extralegal violence. It stands alongside such works as Nat Turner and Thomas Gray’s The Confessions of Nat(1831), William Apess’s “Eulogy on King Philip” (1836), Herman Melville’s “Benito Cereno” (1855), Frederick Douglass’s Harriet Beecher Stowe’s ,and Martin R. Delany’s (1859) as a classic American story of anti-racist insurrection.
