El exodo de Yangana (1949), considered to be the most important novel by Angel F. Rojas (Loja, Ecuador, 1909-2003), is an obvious precursor of the Latin American Boom discourse. Rojas builds upon the social messages of Huasipungo (Icaza, 1934) and El mundo es ancho y ajeno (Alegria, 1941), adding the magical language and poetry of Pedro Paramo (Rulfo, 1955), La casa verde (Vargas Llosa, 1966) and Cien anos de soledad (Garcia Marquez, 1967). In the words of Enrique Anderson Imbert, Rojas -brought new techniques to the novel…there is a social thesis [in his works], but the narrative prose, which is more polished and elegant than the other novels of explicit political focus, is conserved by its own merits.- In El exodo de Yangana a town decides to abandon its lands in order to escape punishment for a collective crime. This refers to Lope de Vegas Fuenteovejuna, but the end constitutes a reminder that in Latin America things are not as they should be. Unlike Fuenteovejuna, Yangana knows that the accusation of being murderers – and even worse, Communists – and punishment are inexorably linked. Joaquin Reinoso, peaceful farmer and the first to flee Yangana for the jungle for having executed vengeance upon an abusive government official, is followed in his path by the inhabitants of whole town, who have also decided to begin a new life. Resentment of social injustice has exploded during a communal festival, catalyzed inadvertently – or imprudently – by a slightly ridiculous cultural act by Vicente Munoz, the freethinker, reflecting Rojas thesis that literature is never an abstract or gratuitous game, but rather always capable of exercising social influence, although not always in an expected sense. With this unified town action, Rojas constructs a collective person that at first seems idyllic but that comes to reveal a complex and poetic universe: in the exodus -viene, en fin, un muestrario acaso cabal de humanidad, un mundo comprimido y abreviado en el que estan…
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