The first half of the
Popol Vuh as we have it from the Kʾicheʾ colonial tradition is a quintessentially Kingless epic, as the story revolves around pre-human gods, successive generations of hero twins, who must defeat a series of aggrandizer figures, including the lords of death in the underworld, in order to bring about the dawning of the human age. Although the same basic story can be found in earlier art and hieroglyphic inscriptions which since the 1990s are being deciphered at an exhilarating pace, recent research has pointed out that this anti-accumulative tendency of the story may be somewhat unique to the
Popol Vuh as we have it, which, it is hypothesised, may represent a retelling slanted toward anti-colonial resistance. While I agree that this may also be the case, I (based on my limited understanding as an ignorant outsider) think it might make even more sense to take this story, written down only some thirty years after first European contact, as faithfully reflecting older layers, though perhaps not of the somewhat exploitative and stratified Classic Maya (ca 250–950 CE) but rather of the socially creative, decentralized, and egalitarian Postclassic Maya (950–1539), which represents one of the great examples in world history of the deescalation of class struggle, when people came together to build the Kingless Generation.
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