All this contributes to the remarkable impression of “neutrality” that Rulfo’s writing evokes. Rulfo also avoids words that are emotionally charged. The author does not, however, use regional dialects, for this would increase the difficulty of the text. The stories consist of simple, everyday words the lexicon employed is relatively small, and sentences are typically short. In keeping with his approach to the dialog of the narrators and peasants, Rulfo generally strives for simplicity and avoids challenging the reader with difficult constructions throughout his collection. This is perhaps the most unique aspect of Rulfo’s literary production. They seem to use an artless, everyday discourse, but the language is actually highly metaphorical and lyrically stylized. As a result, Rulfo’s narrators employ language found in no other Latin American author. In the collection, he avoids the conventions of regional realism (which involve an educated narrator who identifies local “traditional” characters and scenes) that made rural folk seem rustic or ignorant, and focuses instead on reproducing the peasant’s thought and spoken word.

Rulfo’s narrative style in The Burning Plain is regarded by many critics as revolutionary - he had clearly invented a new way of writing about rural life in Mexico. Indeed, Marquez credits Rulfo as influencing the composition of his great novel, One Hundred Years of Solitude. These two works, though short, established Rulfo as among the most important writers of his generation - a figure comparable to Jorge Luis Borges in stature and a source of inspiration for subsequent writers, most notably Gabriel Garcia Marquez. It marked the first of Rulfo's two publications, the other being his highly regarded novel, Pedro Páramo (1955).

Juan Rulfo's The Burning Plain and other Short Stories (originally En llano en llamas) was published in 1953.

პედრო პარამო by Juan Rulfo