Editorial Masas

9-1-2018

Heinrich Gutmann founded Editorial Masas in 1937. He founded Liga Pro Cultura Alemana in late 1937 or early 1938. In Germany he had been an editor of Vorwarts, which had published Traven stories. Traven later complained that Gutmann spread the story in Mexico that Traven was the German Ret Marut. Gutmann employed Esperanza Lopez Mateos at Editorial Masas in 1939 ( and possibly her mother according to Figueroa). It was on Editorial Masas letterhead that Esperanza famously inquired of the NY publisher Knopf about movie rights for Traven novels. Lombardo Toledano worked closely with Liga Pro Cultura Alemana, often being its keynote speaker. Esperanza was the stenographer for the 1938 series of lectures.

Between 1938 and 1940 pirate editions of Traven novels translated into Spanish for the first time appeared in Mexico. The translator Pedro Geoffroy Rivas had also translated a French Marxist manuscript that was published by Editorial Massas. Editorial Masas and Liga Pro Cultura Alemana shared the same post office box.

BTW, which literary trickster first gave Traven the name Bruno, a name Traven surely never used, and did our mystery trickster laugh out loud when he first wrote it?

 

"LA HUELLA DE LA CULTURA EN LENGUA ALEMANA EN MÉXICO A PARTIR DEL EXILIO DE 1939-1945"
TESIS DOCTORAL DE:
TERESA CAÑADAS GARCÍA
DIRIGIDA POR:
ANA MARÍA PÉREZ LÓPEZ
Madrid, 2013

UNIVERSIDAD COMPLUTENSE DE MADRID
FACULTAD DE FILOLOGÍA
DEPARTAMENTO DE FILOLOGÍA ALEMANA

https://eprints.ucm.es/22359/

 

Garcia Thesis p.388

Heinrich (Enrique) Gutmann: fue uno de los primeros alemanes que llegaron al exilio en México en el año 1933. Antes de esta fecha desarrolló actividades de periodista y fotógrafo para la revista Tempo de la casa editorial Ullstein y redactor de la revista Vorwärts. En el país de acogida adoptó la
nacionalidad a través del matrimonio. Se unió a la Liga de Escritores y Artistas Revolucionarios, de cuya revista Frente a frente fue fotógrafo.


Colaboró en el fomento de la cultura alemana y en la abolición de la influencia de los nacionalsocialistas en México. Actuó de mediador en la concesión de visados para los que buscaban asilo en México y para ello mantuvo contactos con personalidades políticas como Luis Chávez Orozco, del Ministerio de Educación, Vicente Lombardo Toledano y Lázaro Cárdenas. En la Editorial Masas se publicó novelas y folletos políticos sobre algunos de los acontecimientos que estaban ocurriendo en la Francia del exilio.


Su actividad principal fue la fundación de la Liga Pro Cultura Alemana. No dejó escritos literarios, sin embargo, al sacar adelante la Liga, facilitó el acercamiento de la cultura alemana a mexicanos y españoles, rememoró a grandes escritores y pensadores alemanes y organizó encuentros para explicar
la situación de lo que estaba ocurriendo en Alemania.


El mérito que tuvo Gutmann fue, sobre todo, que el camino explorado y pisado en primer lugar por él quedó abierto a los exiliados que comenzaron a llegar en 1940: él había sido el pionero en la primera liga antinazi creada por alemanes y estableció relaciones con personalidades públicas que luego
apoyarán otras organizaciones e iniciativas de los exiliados.

Garcia thesis p.388

Heinrich (Enrique) Gutmann: was one of the first Germans who went into exile in Mexico in 1933. Before this date, he managed activities of journalist and photographer for the magazine Tempo of the publishing house Ullstein and was editor of the Vorwärts magazine. In the host country, he adopted the
nationality through marriage. He joined the League of Writers and Artists Revolucionarios (LEAR), from whose magazine "Frente a frente" he was a photographer.

He collaborated in the promotion of German culture and in the abolition of influence of the National Socialists in Mexico. Acted as mediator in the granting visas for those seeking asylum in Mexico and for that he maintained contacts with political figures such as Luis Chávez Orozco, Ministry of Education, Vicente Lombardo Toledano and Lázaro Cárdenas. In "Editorial Masas" was published novels and political brochures about some of the events that were happening in exile France.

His main activity was the founding of the Liga Pro Cultura Alemana. He did not leave literary writings, however, as he carried out the League, he facilitated the approach of German culture to Mexicans and Spaniards, he recalled great German writers and thinkers and organized meetings to explain the situation of what was happening in Germany.

The merit that Gutmann had, above all, the path explored and trodden first by him was left open to the exiles who began to arrive in 1940: he had been the pioneer in the first anti-Nazi league created by
Germans and established relationships with public figures who then supported other organizations and initiatives of the exiles.

garcia thesis p.66

3.2.1 Liga pro Cultura Alemana. La pionera


Uno de los primeros exiliados en llegar a México desde que existiera el
régimen nazi fue Heinrich Gutmann, más conocido como Enrique Gutmann.(71)
Abandonó Alemania inmediatamente después de la quema de libros y en
septiembre de 1934 cambió de nacionalidad contrayendo matrimonio con una
mujer natural de México. Allí entró en contacto con la izquierda, adquirió fama
sobre todo con sus fotografías sobre México, participó en la Liga de Escritores
y Artistas Revolucionarios (LEAR), liga de orientación comunista que existió
desde 1934 hasta 1938, y, aunque él nunca fue comunista reconocido, se unía
a toda causa que fuera contra Hitler y el régimen nazi.


En febrero de 1937 fundó la Editorial Masas, en la que se publicaron
libros y pequeños cuadernos sobre temas mexicanos o de cuestiones de
política internacional. Una de esas cuestiones, que él tenía en mente, fue el
intento de formación de frentes populares contra el fascismo, como se había
intentado en España o en Francia. Ese deseo le llevó a la creación de una
asociación denominada Liga pro Cultura Alemana (LPC), más allá de las
ideologías políticas, la religión y la posición social. Había entre sus miembros
comunistas, socialdemócratas y opositores de Hitler que no estaban adscritos a
ningún partido y, aunque la creación del frente popular fuera una cuestión
sobre todo política, la liga terminó siendo más bien una asociación cultural que
pretendió enseñar cuál era la verdadera cultura alemana frente a lo que los
nazis estaban fomentando y potenciando, la barbarie.

(71) Pohle, Fritz p.83,"Das Mexikanische Exil"

garcia thesis p.66

3.2.1 Liga pro Cultura Alemana. The pioneer

 

One of the first exiles to arrive in Mexico since the existence of Nazi regime was Heinrich Gutmann, better known as Enrique Gutmann. He left Germany immediately after the burning of books and in
September 1934 he changed his nationality by contracting marriage with a natural woman of Mexico. There he came in contact with the left, acquired fame especially with his photographs on Mexico, he participated in the League of Writers and Revolutionary Artists (LEAR), a communist-oriented league that existed
from 1934 to 1938, and, although he was never a recognized Communist, he joined whatever cause if it was against Hitler and the Nazi regime.

In February of 1937 he founded the Editorial Masas, in which they were published books and small notebooks on Mexican issues or issues of international policy. One of those issues, which he had in mind, was the attempt to form popular fronts against fascism, as had been tried in Spain or in France. That desire led him to create an Association called the German Culture League (LPC), beyond the political ideologies, religion and social position. There were among its members communists, social democrats and opponents of Hitler who were not attached to any party and, although the creation of the popular front was a question
above all politics, the league ended up being rather a cultural association that tried to teach what the true German culture was as opposed to what Nazis were fostering and strengthening - barbarism.

   
Guthke has a photocopy of a letter dated August 1939 from Esperanza in his photo section. It is by all accounts the first contact between Esperanza Lopez Mateos and B. Traven. The books in question are the same ones that Traven will eventually complain have been made into pirated Spanish editions in his introduction to his first authorized Spanish translation, the 1941 edition of "Puente en la Selva," translation from English to Spanish, according to the title page, by Esperanza. Here Esperanza translates them unconventionally into English because she probably has the existing Spanish versions.

The address --

Donceles 30
Apartado 8092
Mexico, D.F.

She signs as "Manager"

Apartado means Post Office Box

 

Source: (Karl Guthke, "B.Traven:the Life Behind the Legends", Lawrence Hill, 1991).

 

Editorial Masas seemed to exist only between 1937-1940, the same years as Liga Pro Cultura Alemana. It published some interesting titles, most of them by Marxists. One of them was a translation from French to Spanish by a man from El Salvador who at that time was a law student in Mexico City and a published poet who would later be well known - Pedro Geoffroy Rivas. Rivas had translated 5 Marxists texts between 1935 and 1939. His work was well respected. He published with the Marxist publisher Ediciones Frente Cultural.

Editorial Masas published his translation of "Sobre la Literatura y el Arte".

 

https://www.sciencedirect.com/science/article/pii/S0185262016000037

The beginnings of Ediciones Frente Cultural (EFC). From marxist theory to successful business (1934-1939)

Sebastián Rivera Mir

 

En 1938, para la Editorial Masas, el salvadoreño tradujo Sobre la literatura y el arte, una selección de textos de Marx y Engels, realizada por el francés Jean Freville. Esta editorial, vinculada al comunismo, lanzó en este periodo la colección Los grandes textos del marxismo, y estuvo relacionada estrechamente con integrantes de la LEAR, especialmente con el cubano Juan Marinello.

Sebastián Rivera Mir

In 1938, for the Editorial Mass, the Salvadoran translated "Sobre la Literatura and Art" , a selection of texts of Marx and Engels, made by French Jean Freville. This publisher, linked to communism, launched in this period the collection The great texts of Marxism, and was closely related to members of LEAR, especially with the Cuban Juan Marinello.

Con quien Geoffroy Rivas sí tuvo problemas y públicamente fue con un entonces poco conocido y enigmático escritor alemán, B. Traven. El salvadoreño decidió emprender la tarea de traducir al castellano el libro La rebelión de los colgados, algo que no agradó al germano. Este proceso no estuvo exento de polémica y podemos aprovechar este debate para comprender qué significaba para estos actores el proceso de traducción. En la introducción de este libro, el salvadoreño dialoga con una supuesta carta que envió B. Traven insultado a “alguien” que trató de publicar uno de sus libros sin permiso. Además, en esa misma carta el escritor decía que no creía necesario que su obra se conociera en México. Geoffroy Rivas le responde: “He tratado de imaginarme lo que habría dicho Martín Trinidad [el protagonista] acerca de este Traven-Patrón que se siente robado cuando alguien quiere dar a conocer sus tesoros… (Traven, 1938, p. 5)”. La posibilidad de traducir no era un acto que estuviera sometido a los derechos de propiedad, al contrario, era un deber con la sociedad y la transmisión de la cultura58.

Sebastián Rivera Mir

With whom Geoffroy Rivas did have problems and publicly was with a then little known and enigmatic German writer, B. Traven. The Salvadoran decided to undertake the task of translating into Spanish the book "The rebellion of the hanged", something that did not please the German. This process was not without controversy and we can take advantage of this debate to understand what the translation process meant for these actors. In the introduction to this book, the Salvadoran talks with an alleged letter sent by B. Traven insulting "someone" who tried to publish one of his books without permission. In addition, in that same letter the writer said that he did not think it necessary for his work to be known in Mexico. Geoffroy Rivas replies: "I have tried to imagine what Martín Trinidad [the protagonist] would have said about this Traven-Patrón who feels robbed when someone wants to make known his treasures ... ( Traven, 1938, p. 5)". The possibility of translating was not an act that was subject to property rights; on the contrary, it was a duty with society and the transmission of culture.

 

 

 

The first Traven Spanish edition of "Puente en la Selva" was published April 19, 1941, according to the endpapers, with Esperanza Lopez Mateos prominently featured on the title page as translator. Traven's introduction complains about previous pirated Spanish editions and names names. As far as I know, no other Traven book carries an introduction. No other book carries a dedication. His new found translator and business partner is on the title page. The introduction says Traven is American and his name is not Bruno. The dedication is to mothers everywhere of all kinds.

Traven wanted to make it known that he would carry no water for the communazis, the German anti-fascist communist emigres from Europe.

Traven in the introduction (translation from Spanish) - As editions "pirates", fraudulent, unauthorized and riddled with defects in their drafting, meaning, meaning, as well as having been cut out of reason and have been added introductions in which fantasies and falsehoods about the true name and nationality of the author, the following can be mentioned especially:

 

LA REBELION DE LOS COLGADOS, traducida por Pedro Geoffroy Rivas y Lia Kostakowsky (ninguno de los dos de nacionalidad mexicana), la cual fue publicada en trozos por "El Popular" y en un libro por Editorial Cima, de Mexico, D. F.

THE REBELLION OF THE HANGED, translated by Pedro Geoffroy Rivas and Lia Kostakowsky (neither of them of Mexican nationality), which was published in pieces by "El Popular" and in a book by Editorial Cima, Mexico, D. F.
LA ROSA BLANCA, traducida por Pedro Geoffroy Rivas y Lia Kostakowsky, publicada en trozos por "El Nacional" y "Ruta" y en un libro por Editorial Cima, de Mexico, D. F. La obra original contiene aproximadamente treinta mil palabras mas que las contenidas en la edicion fraudulenta. En el original el autor nunca se refiere a Mexico, sino a una Repiiblica del Sur. LA ROSA BLANCA, translated by Pedro Geoffroy Rivas and Lia Kostakowsky, published in pieces by "El Nacional" and "Ruta" and in a book by Editorial Cima, Mexico, DF. The original work contains approximately thirty thousand words more than the contained in the fraudulent edition. In the original the author never refers to Mexico, but to a Republic of the South.
   
The "Rebellion" Editorial Cima edition is 1940. There is an earlier 1938 "Ediciones Insignia" edition that Esperanza could have seen before her 1939 letter to Knopf. The Cima Edition uses the unmistakenly German Bruno. The earlier edition uses the more respectful B. Traven. Was it "Bruno" that brought him out? Traven notes the daily El Popular serialized the pirate novel. El Popular is Lombardo Toledano's newspaper. Cima and Insignia appear to be small publishing companies, possibly even belonging or being instigated by Toledano.

 

 

screenshots from bookseller

https://articulo.mercadolibre.com.mx

https://articulo.mercadolibre.com.mx/MLM-557850453-bruno-traven-la-rebelion-de-los-colgados-_JM

screenshots from bookseller

https://articulo.mercadolibre.com.mx

https://articulo.mercadolibre.com.mx/MLM-554498438-bruno-traven-la-rosa-blanca-editorial-cima-mexico-1940-_JM

 

 

Pedro Geoffroy Rivas was not a Mexican national, as Traven notes. He was a Salvadoran poet, translator, linguist and anthropologist with a law degree and a distinguished multi-faceted career. Rather than inferior work, I imagine his Traven translations are competent and probably the source is listed.

https://es.wikipedia.org/wiki/Pedro_Geoffroy_Rivas

 

 
   

 

As far as I know, this is the only introduction Traven ever wrote for any book. He wants everyone to know he carries no water for the communazis, neither does he share their ideas. What is striking is that his translator and partner, Esperanza Lopez Mateos, is in a close working relationship with the people Traven is denouncing. The official story that Traven told of his first meeting with Esperanza which has been repeated numerous times by just about every author is unlikely to be true. Everyone should have guessed that. I am just speculating, but its more likely that Traven complained to Toledano and Toledano sent Esperanza to go talk to him and Traven fell hard. (I did all this work, I get to have a little fun.)

 

 
Esta es la unica edicion en espanol hecha en America que ha sido aprobada por el autor. Es por lo tanto la unica edicion legal que se ha hecho en la America Espanola y la unica que lia sido traducida de la edicion americana tomada del original escrito en ingles por su autor. Todas las ediciones que se han publicado en castellano en la America Espanola son fraudulentas, publicadas sin la autorizacion y conocimiento del autor y ninguna de ellas traducida del trabajo original, sino tomadas de las traducciones europeas, defectuosas y recortadas, preparadas especialmente para los publicos europeos por los agentes y traductores del autor en Europa. Las referidas ediciones de las cuales han sido hechas las traducciones fraudulentas, adolecen de tantos defectos que el editor aleman del autor, con residencia anterior en Berlin y actual en Suiza, ha decidido obtener una nueva traduccion hecha directamente del original escrito en ingles. Algunas de estas traducciones correctas del ingles al aleman se encuentran actualmente de venta en Suiza. This is the only edition in Spanish made in America that has been approved by the author. It is therefore the only legal edition that has been made in Spanish America and the only one that has been translated from the American edition taken from the original written in English by its author. All the editions that have been published in Spanish in the Spanish America are fraudulent, published without the authorization and knowledge of the author and none of them translated from the original work, but taken from the European translations, defective and cut, specially prepared for the European public by the author's agents and translators in Europe. The aforementioned editions of which the fraudulent translations have been made, suffer from so many defects that the German publisher of the author, with previous residence in Berlin and currently in Switzerland, has decided to obtain a new translation made directly from the original written in English. Some of these correct translations from English to German are currently on sale in Switzerland.
Como ediciones "piratas", fraudulentas, desautorizadas y plagadas de defectos por lo que hace a su redaccion, sentido, significacion, tanto como por haber sido recortadas fuera de toda razon y haberseles agregado introducciones en las que se asientan fantasias y falsedades acerca del verdadero nombre y nacionalidad del autor, pueden mencionarse especialmente las siguientes: As editions "pirates", fraudulent, unauthorized and riddled with defects in their drafting, meaning, meaning, as well as having been cut out of reason and have been added introductions in which fantasies and falsehoods about the true name and nationality of the author, the following can be mentioned especially:

LA REBELION DE LOS COLGADOS, traducida por Pedro Geoffroy Rivas y Lia Kostakowsky (ninguno de los dos de nacionalidad mexicana), la cual fue publicada en trozos por "El Popular" y en un libro por Editorial Cima, de Mexico, D. F.

LA ROSA BLANCA, traducida por Pedro Geoffroy Rivas y Lia Kostakowsky, publicada en trozos por "El Nacional" y "Ruta" y en un libro por Editorial Cima, de Mexico, D. F. La obra original contiene aproximadamente treinta mil palabras mas que las contenidas en la edicion fraudulenta. En el original el autor nunca se refiere a Mexico, sino a una Repiiblica del Sur.


EL BARCO DE LOS MUERTOS, traducida por Alfred Kahn y Kaplan, publicada por Ediciones Iman, Buenos Aires, Argentina, recortada aproximadamente en quince mil palabras.


UN PUENTE EN LA SELVA, traducida por Alfred Kahn y Kaplan, publicada por Ediciones Iman, Buenos Aires, Argentina.

THE REBELLION OF THE HANGED, translated by Pedro Geoffroy Rivas and Lia Kostakowsky (neither of them of Mexican nationality), which was published in pieces by "El Popular" and in a book by Editorial Cima, Mexico, D. F.


LA ROSA BLANCA, translated by Pedro Geoffroy Rivas and Lia Kostakowsky, published in pieces by "El Nacional" and "Ruta" and in a book by Editorial Cima, Mexico, DF. The original work contains approximately thirty thousand words more than the contained in the fraudulent edition. In the original the author never refers to Mexico, but to a Republic of the South.


THE SHIP OF THE DEAD, translated by Alfred Kahn and Kaplan, published by Ediciones Iman, Buenos Aires, Argentina, cut in approximately fifteen thousand words.


A BRIDGE IN THE JUNGLE, translated by Alfred Kahn and Kaplan, published by Ediciones Iman, Buenos Aires, Argentina.

El autor pide al publico hispanoamericano que no formule ningun juicio acerca de el, de su trabajo, de su estilo, de sus ideas y opiniones, a traves de las ediciones fraudulentas mencionadas, pues no se hace responsable de su incorreccion e inexactitud.


B. TRAVEN, es nativo del Oeste de los Estados Unidos de Norteamerica, hijo de nativos americanos descendientes de noruegos y escoceses respectivamente. Acaba de cumplir cuarenta anos, y escribe todos sus libros en ingles. Su primer nombre no es Bruno, nombre que le adjudicaron los comuninazis a quienes los generosos gobiernos de Mexico y la Argentina han dado refugio. El autor no tiene conexion alguna con esas gentes, no comparte sus ideas ni sus credos y deplora que algunos detalles, no previstos en las leyes que amparan los derechos de los autores, tanto en Mexico como en la Argentina, hayan hecho posible la lamentable presentacion que de sus obras se ha llevado a cabo.

The author asks the Hispano-American public not to make any judgment about him, his work, his style, his ideas and opinions, through the mentioned fraudulent editions, because he is not responsible for their incorrectness and inaccuracy.


B. TRAVEN, is native of the West of the United States of North America, son of native Americans descendants of Norwegians and Scottish respectively. He has just turned forty, and he writes all his books in English. His first name is not Bruno, name given to him by the comunas to whom the generous governments of Mexico and Argentina have given refuge. The author has no connection with these people, does not share his ideas or creeds and regrets that some details, not provided for in the laws that protect the rights of authors, both in Mexico and Argentina, have made the unfortunate presentation possible. which of his works has been carried out.