Mad Toy

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The novel is narrated in the first person by Silvio, and we are granted an inside look at his thoughts. The second the real idea of becoming captured by the police is present, we see the paranoia and fear that he feels.

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This helps to show his age and how that although he is unhappy with his lack of power in society and talks about evil things such as blowing up the judges houses and killing police with poisoned bullets, he is still just a kid that is attempting to change his circumstance in society and is not as cold blooded as he portrays himself to be.

After the disbanding of his gang, Silvio attempts to change his place in society through honest and legal ways by finding work and eventually attending school, both of which fail.

Roberto Arlt

He goes back to his criminal ways during these two failed attempts, and realizes just how difficult it will be for him to move up the socioeconomic ladder and how society is built around keeping him at his state of poverty. Eventually, Silvio comes to a crossroads and has to decide whether or not to start back up as a criminal who robs from people to obtain their wealth.

The Mad Toy does a great job of showing just how unfair society can be and how the burden of being low on the socioeconomic ladder can lead to adolescents finding their way into crime.

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However, Silvio forms his gang of thieves also as a way of finding a sense of community in a world where the rich as cruel and take advantage of the lack of resources that those who live in poverty have. Silvio and his gang feel that they have power in numbers to fight the oppression that they receive, even if they are more talk than they are action.

Roberto Arlt successfully uses the first person narrative to give an inside glimpse into the mind of an adolescent who is constantly at a crossroads of honest, hard work and irredeemable criminal acts.

Arlt, Roberto. Mad Toy.

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    Readers also enjoyed. About Roberto Arlt. Roberto Arlt. His parents were both immigrants: his father Karl Arlt was a Prussian from Posen now Poznan in present-day Poland and his mother was Ekatherine Iobstraibitzer, a native of Trieste and Italian speaking. German was the language commonly used at their home. His relationship with his father was stressful, as Karl Arlt was a very severe and austere man, by Arlt's own account. The memory of his oppressive father would appear in several of his writings. For example, Remo Erdosain a character at least partially based on Arlt's own life often recalls his abusive father and how little if any support he would give him.

    After being expelled from school at the age of eight, Arlt became an autodidact and worked at all sorts of different odd jobs before landing a job on at a local newspaper: as clerk at a bookstore, apprentice to a tinsmith, painter, mechanic, welder, manager in a brick factory, and dock worker. His first novel, El juguete rabioso "Mad Toy" , was the semi-autobiographical story of Silvio, a dropout who goes through a series of adventures trying to be "somebody. The narrator's literary and sometimes poetic language contrasts sharply with the street-level slang of Mad Toy's many colorful characters.

    Arlt's second novel, the popular Los siete locos The Seven Madmen was rough, brutal, colloquial and surreal, a complete break from the polite, middle-class literature more typical of Argentine literature as exemplified, perhaps, by the work of Jorge Luis Borges, however innovative his work was in other respects. Los lanzallamas The Flame-Throwers was the sequel, and these two novels together are thought by many to be his greatest work.

    The Mad Toy

    What followed were a series of short stories and plays in which Arlt pursued his vision of bizarre, half-mad, alienated characters pursuing insane quests in a landscape of urban chaos. During his lifetime, however, Arlt was best known for his "Aguafuertes" "Etchings" , the result of his contributions as a columnist - between and - to the Buenos Aires daily "El Mundo". Arlt used these columns to comment, in his characteristically forthright and unpretentious style, on the peculiarities, hypocrisies, strangeness and beauty of everyday life in Argentina's capital.

    Some of the "Aguafuertes" were collected in two volumes under the titles Secretos femeninos.

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    In he spent nearly a year writing as he traveled throughout Spain and North Africa, on the eve of the Spanish Civil War. At the time of his death, Arlt was hoping to be sent to the United States as a correspondent. Worn out and exhausted after a lifetime of hardships, he died from a stroke on July 26, His coffin was lowered from his apartment by an operated crane, an ironic end, considering his bizarre stories. Analogues in English literature are those who avoid literary 'respectability' by writing about the poor, the criminal and the mad: writers like William Burroughs, Iceberg Slim, and Irvine Welsh.

    Arlt, however, predated all of them. His hectic narrative stays nowhere for long: Silvio puts a gun to his head and pulls the trigger — but it's only one of several apparently irretrievable acts swiftly forgotten once the next chapter begins. Roberto Arlt was born in Argentina in , a year after Borges, but on the other side of the tracks from his better known compatriot; he had to fend for himself early in life, turning later to fiction when he wasn't at his day job as a reporter.

    If, like many debuts, El juguete rabioso contains a streak of autobiography, then Arlt had experience of a fair few trades besides journalism. The unsettling sense that anything can happen erupts frequently in sudden violence: Silvio tries to set fire to his boss's house and flings a lit cigarette "on to some human bundle that was hunched in a shop doorway", just because. Even the surprisingly high-minded conclusion seems somehow amoral, when Silvio snitches on an accomplice, foiling plans for his biggest robbery yet.

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