Peron and the Enigmas of Argentina

Peron and the Enigmas of Argentina

Peron and the Enigmas of Argentina

Peron and the Enigmas of Argentina


Inevitably, there is much that is enigmatic and generally misunderstood in the tale of Perón, his country, and his civilization. To provide a kind of view from Olympus and a framework for the narrative history that follows, Part I of this book contains brief sketches of what are seen as the enigmas of Argentina and of Perón. The enigmas are, of course, rooted in the past, and the story, intensely human and historical, thus becomes an adventure in time and its interactions in which the past is summoned to elucidate the present.


Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.

—T. S. Eliot, Burnt Norton

on the evening of June 21, 1978, an enthusiastic audience at the Prince Edward Theatre in London applauded the opening of a new musical, based on the life and early death of the second wife of a president of Argentina. Those present, and thousands of audiences to come, were commemorating a legend and in so doing were themselves participating in the unfolding of another legend, for the worldwide success of Evita has come to mirror the mythology of its heroine.

Dreams seem to attend it, among them one that runs somewhat counter to the main themes of the musical and emerges almost fortuitously, a longing of the times caught in the cadence of the most memorable of the songs and held there in tonal amber:

Don't cry for me Argentina.
The truth is I shall not leave you
Though it may get harder
For you to see me
I'm Argentina
And always will be. . .

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