When my admired Cristina Rivera Garza put me on the critical path of Croatian, housed in the Department of English and Latin American Literature from the University of New South Wales, Sydney, Australia, Diana Palaversich, my first impression long before reading it, was to meet from the first to be truly postmodern had known in my life. Everyone has their own concept of what it means to be "postmodern" personally, I think the biggest indication that this constitutes an eminently postmodern work is the difficulty to classify, ie, when there knowing the nationality of the author can not ensure that it is, for instance, Mexican or French, with their influences point to China or Bengali literature. Being postmodern, then, from my point of view, is not having a nationality or a defined ideology, but to be a mind and body in permanent construction, ready to assimilate foreign proposals, foreign, which becomes surprisingly easy given the technological advances that connect us to the world. Diana Palaversich is thus a true child of its time, born February 27, 1960 in Croatia, based in Australia and permeated to the marrow with Latin American literature, which has its main field of study, but recently has ultraespecializado in Mexican literature written from the northern border. In this sense, Diana is the only truly authoritative voice has risen above both critic and reviewer who, resentful of the excessive attention received by the authors "northern", are released to rant against what they believe is "narcoliteratura" without have bothered to read before the objects of his criticism. However, not until his next book (even touches the subject in which we deal below) that Diana delve into this topic. We must deal, for now, to discuss his first book published in Mexico: Macondo to McOndo, Paths of Latin American postmodernism (Plaza y Valdés, 2005) where, in a little less than perfect English Diana invites us to read the recent Latin American literature with new eyes.
"This is the best book critic who has appeared in many years in the English language, a book that may happen as a text" academic "more (unattended) or as a closely guarded secret literature, a classic of American construction" says writer Heriberto Yepez Tijuana, as an epilogue, adding also what we said before: that the author is a genuine post-modern subject, that is, not as someone might think converges in whom all the processes of globalization, but precisely the radical critique of globalization. From Macondo to McOndo it would be possible to structure a coherent and graspable notion of postmodernism, at least with regard to literary study. It's like the lamp of Diogenes in the sense that suggests a long search that derives from early in the delivery of long-sought goal and we brought glued to the back. Vague terminology both in its indiscriminate use as their meaning more often ambiguous, are sharply assailed by Diana. It is no coincidence, moreover, who has focused his analysis of postmodernism in literature postboom, more specifically those closely linked to politics, gender, sexuality and boundaries and metaphorical. All these aspects converge in what Yepez, author of Lucid epilogue, called the great issue of our time, emblematic (add Diana) call postmodernism: "The construction of the body." Points out the contradiction of what had previously been described as authentic Yépez postmodernism, ie the erroneous interpretation of postmodernism: "(...) what is considered politically correct in Chile and elsewhere in Latin America is precisely the neo-liberal ideology postmodernism as cultural expression, what is considered outmoded and therefore politically incorrect, is the magical realism and the left position. "Shrewd on end, not without irony (a very Latin American trait of the personality of Europe), Diana reveals that the authors simply assume the postmodern cliche and reveals a distinctly postmodern others who have not sought to join a stream. His vision for the machismo and trade literature for women greatly surprised by the freshness of its position post-feminist, not peaked yet by any critical or American criticism, "(Diana) of self-consciousness of the text on his body (his generologías) but has gone beyond feminism, to the extent that it is registered themselves in the illusions of modernity (its modernografías), "Yepez said. That said, no wonder that Diana left as evidence of late adolescent snubs Alberto Fuguet, who revealed his alleged anti entitled McOndo magical realism, which brings together several writers, "postmodern" of his generation, being suspiciously excluded female feathers, which does not say much for the worries of these almost forties postmodernizadores enfants terribles: "For a lot of publicity to be given in the media and Fuguet Macondo and I stress, not the quality of literature but for his political stance, one thing is clear: in their ranks will not come out a new writer dazzle the fashion world that made him a García Márquez. "(p. 56) .
And just as a fun autopsy performed this post-modern neo-liberal writers, who more than make a genuine fresh start over their predecessors are assumed emulators late Douglas Coupland and Brett Easton Ellis, Diana thrills of tenderness almost with the fuss today bukowskianos patented by William Fadanelli mature writer in his earlier books of short stories "subversive" and Rogelio Villarreal: "The reason why criticize this machismo grown passé and retrograde texts is not sexism per se, but because the machismo and misogyny are to go through cool and challenging attitudes that go against the "political correctness." However, the authors forget one thing: both in Mexico and elsewhere in Latin America, machismo is more politically correct and completely dominant mainstream and there is nothing radical, much less counter, in the perpetuation of this posture. "(p. 74). As a post-feminist, no offense Diana aware of the fact that women are little more than an animal designed for the pleasure of men in the narratives of Fadanelli and Villarreal shocked him that some people find this attitude almost emblematic of Latin American literature as a whole to pass groundbreaking. Where is a genuine break is in three authors, a Chilean and two Mexican and Mexican author: Diamela Eltit, Cristina Rivera Garza, Patricia and Mario Bellatin Kullick Laurent. No one will mourn for me, the first novel by Rivera Garza, performed an amazing performance that invites re-reading this wonderful novel under a gender lens, "Tracing the life of Matilda, born 1885, died in 1958, and their mental states always changing and shaping Rivera thinks this period of instability and violence since the experience of those excluded from the grand narrative of Mexican history. Women share this position with the insane, homosexuals, indigenous peoples, also marginalized by their (a) normal, patriotic project associated with the masculine and rational. "Through the example of Chilean writer Pedro Lemebel, belies the apparent openness denies Diana homosexual theme in the recent Latin American novel. Lemebel literature is a painful reminder that gay perfect neoliberal, popularized among others by the Peruvian Jaime Bayly, has nothing to do with the mad, another figure who remains exiled Latin American literature and so split the one as the right the left. Politically, Lemebel assumes a position and company Fuguet deplore: no Although the left has denied homosexuals historically considered unfit for the armed struggle Lemebel feel fully committed to this and all with the right.
regard to the "literature of the northern border," Diana sweeps with various myths that those who are allowed to read this exquisite book, they will not insist anymore. One of them is the alleged kinship with Chicano literature, when the reality is that both are water and oil, primarily because the authors northern Mexican border do not make the supposed hybridity of cultures, the central theme of his narrative , as they do the narrators Chicanos. Tijuana, home par excellence of this current until recently despised and wildly traded today to the major publishers, it is not, as you said Néstor García Canclini, "school of modernism, and this is demonstrated through the same texts of native authors. "The board," says Diana, (border, border) is now a space that is increasingly monitored and militarized contradicts and does not confirm the idea uncritically repeated on the fading of national borders in a globalized world
(...)" Tall and slender, Diana has a look of boy who associate an input with rare European fashion, but to hear tell Cristina Rivera Garza, who looks certainly look Similarly, it has taken that cut short, short for "solidarity" with Diana, I find that this has just returned to the world due to the traumatic throes of a cancer that nothing has weakened the broad, childlike smile. Nobody will see this beautiful and dynamic woman, a mother of a child on the speaker with devotion, imagine that has been so ill, but this postmodern literary criticism has won battles beyond language.
"This is the best book critic who has appeared in many years in the English language, a book that may happen as a text" academic "more (unattended) or as a closely guarded secret literature, a classic of American construction" says writer Heriberto Yepez Tijuana, as an epilogue, adding also what we said before: that the author is a genuine post-modern subject, that is, not as someone might think converges in whom all the processes of globalization, but precisely the radical critique of globalization. From Macondo to McOndo it would be possible to structure a coherent and graspable notion of postmodernism, at least with regard to literary study. It's like the lamp of Diogenes in the sense that suggests a long search that derives from early in the delivery of long-sought goal and we brought glued to the back. Vague terminology both in its indiscriminate use as their meaning more often ambiguous, are sharply assailed by Diana. It is no coincidence, moreover, who has focused his analysis of postmodernism in literature postboom, more specifically those closely linked to politics, gender, sexuality and boundaries and metaphorical. All these aspects converge in what Yepez, author of Lucid epilogue, called the great issue of our time, emblematic (add Diana) call postmodernism: "The construction of the body." Points out the contradiction of what had previously been described as authentic Yépez postmodernism, ie the erroneous interpretation of postmodernism: "(...) what is considered politically correct in Chile and elsewhere in Latin America is precisely the neo-liberal ideology postmodernism as cultural expression, what is considered outmoded and therefore politically incorrect, is the magical realism and the left position. "Shrewd on end, not without irony (a very Latin American trait of the personality of Europe), Diana reveals that the authors simply assume the postmodern cliche and reveals a distinctly postmodern others who have not sought to join a stream. His vision for the machismo and trade literature for women greatly surprised by the freshness of its position post-feminist, not peaked yet by any critical or American criticism, "(Diana) of self-consciousness of the text on his body (his generologías) but has gone beyond feminism, to the extent that it is registered themselves in the illusions of modernity (its modernografías), "Yepez said. That said, no wonder that Diana left as evidence of late adolescent snubs Alberto Fuguet, who revealed his alleged anti entitled McOndo magical realism, which brings together several writers, "postmodern" of his generation, being suspiciously excluded female feathers, which does not say much for the worries of these almost forties postmodernizadores enfants terribles: "For a lot of publicity to be given in the media and Fuguet Macondo and I stress, not the quality of literature but for his political stance, one thing is clear: in their ranks will not come out a new writer dazzle the fashion world that made him a García Márquez. "(p. 56) .
And just as a fun autopsy performed this post-modern neo-liberal writers, who more than make a genuine fresh start over their predecessors are assumed emulators late Douglas Coupland and Brett Easton Ellis, Diana thrills of tenderness almost with the fuss today bukowskianos patented by William Fadanelli mature writer in his earlier books of short stories "subversive" and Rogelio Villarreal: "The reason why criticize this machismo grown passé and retrograde texts is not sexism per se, but because the machismo and misogyny are to go through cool and challenging attitudes that go against the "political correctness." However, the authors forget one thing: both in Mexico and elsewhere in Latin America, machismo is more politically correct and completely dominant mainstream and there is nothing radical, much less counter, in the perpetuation of this posture. "(p. 74). As a post-feminist, no offense Diana aware of the fact that women are little more than an animal designed for the pleasure of men in the narratives of Fadanelli and Villarreal shocked him that some people find this attitude almost emblematic of Latin American literature as a whole to pass groundbreaking. Where is a genuine break is in three authors, a Chilean and two Mexican and Mexican author: Diamela Eltit, Cristina Rivera Garza, Patricia and Mario Bellatin Kullick Laurent. No one will mourn for me, the first novel by Rivera Garza, performed an amazing performance that invites re-reading this wonderful novel under a gender lens, "Tracing the life of Matilda, born 1885, died in 1958, and their mental states always changing and shaping Rivera thinks this period of instability and violence since the experience of those excluded from the grand narrative of Mexican history. Women share this position with the insane, homosexuals, indigenous peoples, also marginalized by their (a) normal, patriotic project associated with the masculine and rational. "Through the example of Chilean writer Pedro Lemebel, belies the apparent openness denies Diana homosexual theme in the recent Latin American novel. Lemebel literature is a painful reminder that gay perfect neoliberal, popularized among others by the Peruvian Jaime Bayly, has nothing to do with the mad, another figure who remains exiled Latin American literature and so split the one as the right the left. Politically, Lemebel assumes a position and company Fuguet deplore: no Although the left has denied homosexuals historically considered unfit for the armed struggle Lemebel feel fully committed to this and all with the right.
regard to the "literature of the northern border," Diana sweeps with various myths that those who are allowed to read this exquisite book, they will not insist anymore. One of them is the alleged kinship with Chicano literature, when the reality is that both are water and oil, primarily because the authors northern Mexican border do not make the supposed hybridity of cultures, the central theme of his narrative , as they do the narrators Chicanos. Tijuana, home par excellence of this current until recently despised and wildly traded today to the major publishers, it is not, as you said Néstor García Canclini, "school of modernism, and this is demonstrated through the same texts of native authors. "The board," says Diana, (border, border) is now a space that is increasingly monitored and militarized contradicts and does not confirm the idea uncritically repeated on the fading of national borders in a globalized world
(...)" Tall and slender, Diana has a look of boy who associate an input with rare European fashion, but to hear tell Cristina Rivera Garza, who looks certainly look Similarly, it has taken that cut short, short for "solidarity" with Diana, I find that this has just returned to the world due to the traumatic throes of a cancer that nothing has weakened the broad, childlike smile. Nobody will see this beautiful and dynamic woman, a mother of a child on the speaker with devotion, imagine that has been so ill, but this postmodern literary criticism has won battles beyond language.
0 comments:
Post a Comment