Photo: Eve Gil Whoever read critical texts Fabienne Bradu, imagine that after the stabbing pen strikes the cold pulse parapet is a woman who does not usually touch the heart very often. Farabeuf female sharpens his scalpel with the joyful anticipation of the surgeon who intends to sever a delicate flesh, soft, warm, still, to exchange the squalor of the vital organs, has been able, for example, to ascertain whether Arthur Golden told the truth about geisha, that is, appear personally in the famous Gion district in Kyoto, and look, touch and listen to a true geisha before concluding that Memoirs of a Geisha is a remake of Les Miserables, whose heroine is only distinguishable from Cosette of Victor Hugo by the kimono and slanted eyes. "I'm very picky. So my relationships are not very good. I recognize ...", with unusual frankness confesses to Veronica Ortiz. After eighteen years of practicing critical systematically fussy but brilliant conjecture supported by no less than in the magazine Vuelta, Octavio Paz, who learned to be armed to the teeth trying to argue and argue against the fearsome Fabienne makes a break for death of his mentor to make known his friendly face: that of narrator. So radical was the critical transition from steel to the sensitive writer who does not exaggerate when I assert I have seen a genuine conversion. Fabienne itself confirms my suspicions when on page 33 of the enamel compared to the academic world with the laughter of the officer in Prague a story by Heinrich Zimmer, who makes fun of a Jew who tells him a dream that turns out to be prophetic: "It (the officer) academy scared to death, lurking, mocking the teacher who takes his passions too closely the letter. "
daughter of an antiquarian and a hairdresser, Fabienne Bradu was born in September 1954 in Athis Mons, a city near the airport of Orly, outside Paris, which she tells Veronica Ortiz, was bombed by Americans during World War II to prevent the escape of the Germans, with tact so bad that one of the bombs fell in the family home, killing his grandmother and aunt. As a result of It was raised by his maternal grandparents, on the banks of the river Loire. Of the eight authors Veronica interview for her book Women of speech (Joaquín Mortiz, 2005), Fabienne is the only one who refuses to provide a picture of childhood, and suggests why: "It was a very fat girl, a kind of bodoque depositing in one place and not moving. All I was late: the hair, teeth, words. "Incredible but true: this woman atractivísima blue eyes strange, almost ethereal, and more slender figure, believes that his love of dance -" I wanted not be a dancer and writer "- has taken a little of the awkwardness that characterizes it, which, once digested the perplexity by his interlocutor, can only make us see the degree of perfectionism that is capable of both his person and in writing. Graduated from the same school where they studied Baudelaire and André Breton, Fénelon, where "In the first year two girls were hanged because they could not sustain the pace and could not stand the pressure," arrives in Mexico in 1978, after working a summer at Petroleos Mexicanos office in Paris. Interpreter works as a translator at the Center for Third World Studies before obtaining a position as assistant researcher at the National Autonomous University of Mexico. At the same time began to collaborate in return, being for many years the only female at the table read: "I think the second or third review he had published, Octavio Paz, who was very curious about people, young people, called me home to meet me. I went to his study, was very friendly. I was a little timid, but started to discuss that day. He laughed. I think people liked it argued. I was scared a little. "After publishing a series of books, now classics of literary criticism in Mexico, Distinguishing characteristics: writer (FCE, 1987), Echoes of Páramo (FCE, 1989), Breton in Mexico (Lap, 1996), Other syllables on Gonzalo Rojas (FCE, 2002) and The Bridges of translation, Octavio Paz and French poetry (UNAM, Universidad Veracruzana, 2004) - as well as strict biography, not without beautiful prose, as Antoinette ( FCE, 1991) and Ladies of the Heart (FCE, 1995) - Fabienne ambushes its readers with a text which she subtitled "Diary of Chile", The shame lifetime (Vid, Aphrodite Collection, 1999), that could easily pass although its novel structure, is indeed a diary. The two books that follow, presented, they themselves, as "novels", obey, however, the same model free writing, closer to the chronicle does not require a node or an end, only the development of a compelling story. Along with shame ...., The Japanese Lover (Planet, 2002) and the enamel of the world (Joaquín Mortiz, 2006), could form a trilogy. The three books are characterized by sentimental tourism represent an intellectual and literary setting out its views as a lover, traveling and reading in a foreign culture, though perhaps none of them naked so openly as in The shame lifetime, perhaps because it was Chile the first Latin American country where he lived before anchoring in Mexico, amid one of the highlights of its history, miraculously, as Roberto Bolaño, came two days before the Pinochet coup, "also admits to more typical excess of modesty that the brash, for export to his first love:" Yes, my first love was a Chilean, Julio Salas Schumann to be exact. Tall, dark, with curly hair and bright hazel eyes bulging, a sparse mustache and fleshy lips on which printed the hunger of the first kisses. July came into my life a Parisian winter night 1972 in a South American rock (...) Latin Quarter in July was part of the Young Communists and my past Maoist at the time of high school, always entailed political discussions between us. "(pp 29 and 75). Fabienne returned to Chile in 1998, expressly to participate in a tribute to one of their deepest personal feelings and literature, the poet Gonzalo Rojas, and in the midst of this dizzying adventure that includes a disappointing visit to Pablo Neruda's house, converted into what she most abhors, a shrine to cheap sentimentality, gives the nostalgic urge to seek to July. Among his most notable findings, the tourist will find a temple dedicated to the memory of aborted babies that outraged for two reasons: for being in a land where they came to be committed heinous crimes against "bodies and well-born and unborn" and because I remember the sad ending of an affair. "(...) Is my own life I try to rebuild and it escapes me as any stranger. It slips through my fingers like sand, dust, even diamond: rather, I fail to close the hand to pick up a handful of memories, I can not pull the handle to catch the past. "
In The Japanese lover action slips Silk rumor, even in the most erotic scenes that dazzle more the effect of words by the harshness of its description. Would you still Fabienne the advice of your beloved Gonzalo Rojas, "And when you write do not look at what you write / think about the sun ..."? He was asked something about "eroticism incomplete" of his novel, an absurdity where there is: the West, particularly the Mexicans, we have a bizarre idea of \u200b\u200bsexuality, what is worse, believe that sex and eroticism are exactly the same when it would be like comparing the caviar tacos. If no intercourse takes place, we think, no "erotica", but, so far this novel, where sexuality is presented indivisible spirit, as in The shame, and most notably in Enamel the world, is the most exquisitely erotic I have read in a long time: the narrator, the way to Japan, she meets a film director-perfectionist perfectionism, the author seems to say, is the sine qua non of the Japanese, in addition to its own binge-eating and retains however a splendid physical condition, "The first time I saw him, I found the ugliest man she had known in my life," is the introductory sentence of the novel that, somehow, preparing us for the future of the toad into a prince, but in this case the spell takes effect through an intellectual bridge between East and West. Fabienne speaks of masculinity as something unassailable and that the character is Japanese could be interpreted as a metaphor for the impossibility of understanding between men and women, regardless of nationality and skin. The enigmatic, equivocal Haromi sexuality, the Japanese lover transcends the relationship with her mother, sometimes aberrant, which is described in this gritty subtlety with which he describes, for example, fellatio. In that sense Fabienne manages to recreate the atmosphere of perverse pleasure but denied postponed. Some readers will bring to mind The beautiful sleeping Yasunari Kawata, Nobel Prize for Literature in 1968, where the eroticism reaches its zenith in a brothel frequented by seniors eager to curl up to sleep with beautiful young women. Fabienne's narrative plunges us from the language itself, the exotic Japanese, taken to its extreme in the delightful chatter that keeps the narrator with a geisha. At about that experience first novel, Fabienne comment: "I remember a conversation with Alvaro Mutis, when he spoke of Maqroll in terms of" Maquroll asked me this or that. " This is a critical thing from is called poetic justice, but I always thought it was a pose. Now I know it's true. "
Kandarpa, the spiritual Indian lover enamel of the world, like Julio, Fabienne first love, a barman, though, unlike in July, I trust the author, is a fictional character "The story of starting the novel is true: during my second trip to India, an Indian approached me to tell me that I had known in other life, but after that I never saw him again. "The narrator has gone to this strange country, imbued with femininity and secrecy, to repeat the lecture given by Octavio Paz once at the University of Benares. Just see it, says Kandarpa have known in a previous life, and while the woman's reason enough to discern whether this is a dupe in a resource for adventure or pure reality, will lead us on a tour of the wonderful Indian books of Zimmer , Calasso, Eliade, Campbell and Paz himself, which somehow managed to reconcile their Western ideology schematic entry as judged by their superstitions Indian lover: "We tend to guide the nostalgia the past when we had something we lack in this, and because we knew, we were able to warn and suffer his absence. But there is another kind of nostalgia, which coincides with the foreboding of something unknown to come and its absence, or rather, their delay may grieve as much as a deprivation. "Fabienne Bradu's trilogy is characterized by ease and simplicity which deals with female sexuality, not to mediate the silencing and paralyzing fear so many writers, critics fearing that sagacious admonitions to open their legs in public, however, Fabienne shows displeasure when he intends to foist the label of "women's literature:" I unworthy the adjective, "he says Fabienne. I refused to participate in panel discussions of "women's literature." I've been a feminist, I fought for the rights of women, I would never renege on this part, but also in the field of literature we have fought for the writer to be played back is not to pigeonhole us into separate categories, but to recognize us as equals. When special tables organized women's literature is as if we Junked into the back room. Do not think there is discrimination in that because I think there are good intentions behind it, but good intentions will end up separating again ... "
daughter of an antiquarian and a hairdresser, Fabienne Bradu was born in September 1954 in Athis Mons, a city near the airport of Orly, outside Paris, which she tells Veronica Ortiz, was bombed by Americans during World War II to prevent the escape of the Germans, with tact so bad that one of the bombs fell in the family home, killing his grandmother and aunt. As a result of It was raised by his maternal grandparents, on the banks of the river Loire. Of the eight authors Veronica interview for her book Women of speech (Joaquín Mortiz, 2005), Fabienne is the only one who refuses to provide a picture of childhood, and suggests why: "It was a very fat girl, a kind of bodoque depositing in one place and not moving. All I was late: the hair, teeth, words. "Incredible but true: this woman atractivísima blue eyes strange, almost ethereal, and more slender figure, believes that his love of dance -" I wanted not be a dancer and writer "- has taken a little of the awkwardness that characterizes it, which, once digested the perplexity by his interlocutor, can only make us see the degree of perfectionism that is capable of both his person and in writing. Graduated from the same school where they studied Baudelaire and André Breton, Fénelon, where "In the first year two girls were hanged because they could not sustain the pace and could not stand the pressure," arrives in Mexico in 1978, after working a summer at Petroleos Mexicanos office in Paris. Interpreter works as a translator at the Center for Third World Studies before obtaining a position as assistant researcher at the National Autonomous University of Mexico. At the same time began to collaborate in return, being for many years the only female at the table read: "I think the second or third review he had published, Octavio Paz, who was very curious about people, young people, called me home to meet me. I went to his study, was very friendly. I was a little timid, but started to discuss that day. He laughed. I think people liked it argued. I was scared a little. "After publishing a series of books, now classics of literary criticism in Mexico, Distinguishing characteristics: writer (FCE, 1987), Echoes of Páramo (FCE, 1989), Breton in Mexico (Lap, 1996), Other syllables on Gonzalo Rojas (FCE, 2002) and The Bridges of translation, Octavio Paz and French poetry (UNAM, Universidad Veracruzana, 2004) - as well as strict biography, not without beautiful prose, as Antoinette ( FCE, 1991) and Ladies of the Heart (FCE, 1995) - Fabienne ambushes its readers with a text which she subtitled "Diary of Chile", The shame lifetime (Vid, Aphrodite Collection, 1999), that could easily pass although its novel structure, is indeed a diary. The two books that follow, presented, they themselves, as "novels", obey, however, the same model free writing, closer to the chronicle does not require a node or an end, only the development of a compelling story. Along with shame ...., The Japanese Lover (Planet, 2002) and the enamel of the world (Joaquín Mortiz, 2006), could form a trilogy. The three books are characterized by sentimental tourism represent an intellectual and literary setting out its views as a lover, traveling and reading in a foreign culture, though perhaps none of them naked so openly as in The shame lifetime, perhaps because it was Chile the first Latin American country where he lived before anchoring in Mexico, amid one of the highlights of its history, miraculously, as Roberto Bolaño, came two days before the Pinochet coup, "also admits to more typical excess of modesty that the brash, for export to his first love:" Yes, my first love was a Chilean, Julio Salas Schumann to be exact. Tall, dark, with curly hair and bright hazel eyes bulging, a sparse mustache and fleshy lips on which printed the hunger of the first kisses. July came into my life a Parisian winter night 1972 in a South American rock (...) Latin Quarter in July was part of the Young Communists and my past Maoist at the time of high school, always entailed political discussions between us. "(pp 29 and 75). Fabienne returned to Chile in 1998, expressly to participate in a tribute to one of their deepest personal feelings and literature, the poet Gonzalo Rojas, and in the midst of this dizzying adventure that includes a disappointing visit to Pablo Neruda's house, converted into what she most abhors, a shrine to cheap sentimentality, gives the nostalgic urge to seek to July. Among his most notable findings, the tourist will find a temple dedicated to the memory of aborted babies that outraged for two reasons: for being in a land where they came to be committed heinous crimes against "bodies and well-born and unborn" and because I remember the sad ending of an affair. "(...) Is my own life I try to rebuild and it escapes me as any stranger. It slips through my fingers like sand, dust, even diamond: rather, I fail to close the hand to pick up a handful of memories, I can not pull the handle to catch the past. "
In The Japanese lover action slips Silk rumor, even in the most erotic scenes that dazzle more the effect of words by the harshness of its description. Would you still Fabienne the advice of your beloved Gonzalo Rojas, "And when you write do not look at what you write / think about the sun ..."? He was asked something about "eroticism incomplete" of his novel, an absurdity where there is: the West, particularly the Mexicans, we have a bizarre idea of \u200b\u200bsexuality, what is worse, believe that sex and eroticism are exactly the same when it would be like comparing the caviar tacos. If no intercourse takes place, we think, no "erotica", but, so far this novel, where sexuality is presented indivisible spirit, as in The shame, and most notably in Enamel the world, is the most exquisitely erotic I have read in a long time: the narrator, the way to Japan, she meets a film director-perfectionist perfectionism, the author seems to say, is the sine qua non of the Japanese, in addition to its own binge-eating and retains however a splendid physical condition, "The first time I saw him, I found the ugliest man she had known in my life," is the introductory sentence of the novel that, somehow, preparing us for the future of the toad into a prince, but in this case the spell takes effect through an intellectual bridge between East and West. Fabienne speaks of masculinity as something unassailable and that the character is Japanese could be interpreted as a metaphor for the impossibility of understanding between men and women, regardless of nationality and skin. The enigmatic, equivocal Haromi sexuality, the Japanese lover transcends the relationship with her mother, sometimes aberrant, which is described in this gritty subtlety with which he describes, for example, fellatio. In that sense Fabienne manages to recreate the atmosphere of perverse pleasure but denied postponed. Some readers will bring to mind The beautiful sleeping Yasunari Kawata, Nobel Prize for Literature in 1968, where the eroticism reaches its zenith in a brothel frequented by seniors eager to curl up to sleep with beautiful young women. Fabienne's narrative plunges us from the language itself, the exotic Japanese, taken to its extreme in the delightful chatter that keeps the narrator with a geisha. At about that experience first novel, Fabienne comment: "I remember a conversation with Alvaro Mutis, when he spoke of Maqroll in terms of" Maquroll asked me this or that. " This is a critical thing from is called poetic justice, but I always thought it was a pose. Now I know it's true. "
Kandarpa, the spiritual Indian lover enamel of the world, like Julio, Fabienne first love, a barman, though, unlike in July, I trust the author, is a fictional character "The story of starting the novel is true: during my second trip to India, an Indian approached me to tell me that I had known in other life, but after that I never saw him again. "The narrator has gone to this strange country, imbued with femininity and secrecy, to repeat the lecture given by Octavio Paz once at the University of Benares. Just see it, says Kandarpa have known in a previous life, and while the woman's reason enough to discern whether this is a dupe in a resource for adventure or pure reality, will lead us on a tour of the wonderful Indian books of Zimmer , Calasso, Eliade, Campbell and Paz himself, which somehow managed to reconcile their Western ideology schematic entry as judged by their superstitions Indian lover: "We tend to guide the nostalgia the past when we had something we lack in this, and because we knew, we were able to warn and suffer his absence. But there is another kind of nostalgia, which coincides with the foreboding of something unknown to come and its absence, or rather, their delay may grieve as much as a deprivation. "Fabienne Bradu's trilogy is characterized by ease and simplicity which deals with female sexuality, not to mediate the silencing and paralyzing fear so many writers, critics fearing that sagacious admonitions to open their legs in public, however, Fabienne shows displeasure when he intends to foist the label of "women's literature:" I unworthy the adjective, "he says Fabienne. I refused to participate in panel discussions of "women's literature." I've been a feminist, I fought for the rights of women, I would never renege on this part, but also in the field of literature we have fought for the writer to be played back is not to pigeonhole us into separate categories, but to recognize us as equals. When special tables organized women's literature is as if we Junked into the back room. Do not think there is discrimination in that because I think there are good intentions behind it, but good intentions will end up separating again ... "
