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Unclassifiable writers: the strangeness (sixth)

DGD: Arctic Landscapes-Series 1 (clonografía), 2009

6

The adjective is the most naive terror of modernity (in any currency), which intellectual stereotype up to Sadder and a wiser man , as stated in the famous verse of the Ancient Mariner (1798) of Coleridge. In 1795 Coleridge, Robert Southey and Robert Lowell were locked in draft form, in the wilds of Pennsylvania, a utopian communist society called pantisocracia and which govern all in complete equality. This plan was soon abandoned and, as the sailor of his poem, Coleridge became "wiser and sadder."

To modern thought very obvious (that is, in fact, the main evidence) that the experience can not create anything other than an individual more and more sad as it becomes more wisdom. History with a capital of a past is naive and gullible that nothing has accumulated but unfortunately failed utopia (Marxism is the great example that is often brandished as evidence great, but there are many others, almost one for each attempt at counter-argument.) The sadness comes from this monumental failure to which they remain, as only intellectual attitudes acceptable (ie, "logical"), bitterness, sadness and, for the avant-garde, cynicism. Any intellectual attitude that is not bitter, sad or cynical, it is automatically taxed as naive. (At bottom, this is the origin of the unusual success of virulent critics cultural culture as Cioran. Thinkers like Foucault, Barthes, Eco, or Deleuze must first assert its intellectual authority, through its dialogue with the classic, for only then venture into the "wild" without contaminating its seriousness.)

As repairs are not stopping it precisely because is naive - is that, by way of that logic , the past must always be primitive, credulous, shameful and dark, only in order to support the debugging, skepticism, pride and light of this. Not that yesterday's failure to be inferred as the triumph of today (which would be unsustainable, illogical and, again, naive ) than it is to assume the same failure, only averted by a sense of "impotence illustrated" more acute than in earlier times: the Sadder and wiser man is a man whose grief is the size of what know, that is, what he has learned from the experience of History with a capital. Such learning results in an essential certainty that individual learning, and acceptance can not do anything at all to the tremendous and almost cosmic track that precedes it.

However, there remains a deeper reason for his bitterness and cynicism: the unbearable knowledge that even the superlative evil of today will be seen in future as naive. No matter how torn is the realism of this, no matter how bleak his nihilism is not the media has invented to further lament the defeat of man, even that will be overcome by the following currencies that will probably (and this really gives a certainty of experience) will continue in that sort of competition for the biggest disappointment, the most resounding despair.

Perfect piantados health as well as other stubborn dreamers of utopia, is its freedom inconceivable to deny the paradigms instituted, whose only virtue is further transformed into sanity insanity of these same paradigms. One of the characters Rayuela, astonished, said: "Ceferino guess relationships, and that in the background is the real intelligence, is not it? After such proems, classification end there is nothing strange, quite the contrary. Would have to rehearse such a world. " Perhaps the surprise is that: a world that is not so strange alarm to alert the officers of sanity. Fabricio Lezama Lima and Francisco Diaz, Felisberto Piriz Ceferino Hernández and finally integrate the figure of the poet, who is profoundly subversive from the moment you can guess the real relationships between things.

As is becoming increasingly clear, in this territory boundaries are mobile and are diluted. Make any statement about the unclassifiable seems to betray his own call, but could experimentally be the same matching / differentiation which Cortázar between cronopios and piantados, for example between Lezama and Piriz, or between Felisberto and Fabricio Diaz. Piantados Cronopios and look at who take the time otherwise, and in no way is an illusion or a delusion, it is in itself an indictment of the strategy through which the modern sense of time handling . A good example is in the inevitable cliché "writers of repute". A twin to this euphemism is "internationally known artists, which puts the emphasis on space and ignores the time: just the fact that the popularity of these artists is repeated in several countries, is left out of this panorama of the possible consideration of time that would take such consecration.

From experience we know very well that the prestige usually last a very short time (fifteen minutes of fame to Warhol alluded ironically), but that's why time is strategically withdrawn from such considerations, say that there is a sort of shame or pity (if there is honesty in the media, they would say "today, Thursday 19 August this year, enjoy recognized prestige, in the morning do not know and is not liable"), but precisely so that phrases such as "recognized writers prestige "or" internationally renowned artists "be covered with a false sense of timelessness, as if all were granted recognition or celebrity since and forever.

Time is running (if running) otherwise to cronopios and piantados, and perhaps what defines and unifies them is the fact that beyond the successive past-present-future ("the one and two after by three ") as its territory is fundamental concurrency. But although they share the high privilege, while they differ: there are more writers naïve or "wild" among piantados, ie between those who are most lacking in self-criticism. And this could well way to another question: Is self-criticism is precisely what differentiates a respective naive and piantados cronopio? Because for the modern, the word "self" does not mean "desire" but "that prevents committing naive malice."

Perhaps you could speak rather of different wavelengths . This implies a range in which piantados cronopios and would be but various forms of manifestation of the exceptional, the unclassifiable. While authors like Felisberto Hernández Lezama Lima and speculators are risk-takers in the field of art and language, and in them is not without irony and malice, but they canceled their immense sense of wonder (that could be called innocent Adam, as does Cortázar), in figures such as Francisco Fabricio Ceferino Díaz Piriz and seems to be a complete break with the conventions of the world culture: you can not judge or make fun of them because they are perceived, such conventions do not have any significance for them. Each piantados own lives in a world that has links to our fragile world, ethereal bridges may crumble at any time. Conversely, the cronopios live in a world so vast that it is in our world only as a province, not the students like to explore.

For Cortázar, Lezama's ingenuity is that of Adam, ie the plant who is against all the evil of his time and, above all, without fear in the full root of the human. (Fear is still the great intellectual force, and it is primarily the fear of being naive .) Behold, the first tool to distinguish the great missed / strange, large unclassifiable.

For a contrasting look easy, Felisberto Hernández Lezama Lima and creative equals, while Fabricio Ceferino Díaz Francisco Piriz and are (as Julio Ortega writes) "the other side of the creativity, madness." The border between them exists, but is not as easy to establish. But the mere fact of seeking help to challenge the most common desire of our culture, the desire qualifying.

With all the risks, might consider the difference in experimental terms: Hernández Lezama and authors as they followed the work , while writers such as Díaz and Piriz found mainly in utopia, each your way? This question is visible the precariousness of this classification, since there no utopia in the writing of the cronopios?, And do not go piantados behind the work, whether utopian or not? And despite everything, it seems in effect, and very curious, more utopias in works of piantados that in the cronopios.

What ultimately we care about each other, they share one essential feature: the surprise, but obviously very different doses and with different purposes. We all need to surprise, even though we seem so comfortable in the world rational, orderly, and conventional around us (and precisely for that.) The media can convince us that we are in a world in crisis, yet we are comforted by the statement that we know so well to this crisis and the world that this crisis affects them. But something deep inside of us do not believe at all. Something is reluctant to accept all it tells us about the foundations of the world and the universe in which that world is immersed. We need, therefore, to the surprise and momentum to leave the tight network of conventions that sustains us everywhere (and in more ways than one, we detention).

Regarding literature, there is a profound experience that we all share: there is some disappointment when we read a writer who brings back the same tangle of conventions and deliver what we expected for a moment. This writer can capture our attention, you can even surprise and even delight, but to leave that story or that novel we sense, more or less obscure, we have been betrayed: have returned the world as we knew and in fact this writer has not only strengthened the power of conventions.

Hence the shock, the intimate pleasure when we find authors who provide us access to other realities (which is a single reality, only stripped of the filters that usually keep us from it), to worlds that are, but are are bathed in pure light, a deep atmosphere. In this case is not that we have taken from this world (which would be mere escapism and that we have enough) but we have put in their eyes a certain clarity that allows us to see more of our surroundings and ourselves. And there is no way to describe this clarity, or the actual experience of dialogue with the author, then we know that this is an unclassifiable writer, because there is no way to categorize without betraying that he gives us.

unclassifiable

That which we are well described by Cortazar, is "an incredible enrichment of total reality, which not only contains the verifiable but it shores up the back of mystery as the elephant underpins the world cosmogony Hindu. [...] Should more be asked a narrator capable of marrying the everyday with the exceptional to the point of showing that can be the same thing? ".

might be other ways to recognize the writers heterodox atypical or transparent (obviously not the secret, because if they really are, you never know anything about them). One of those ways is the role: how much worry about being "in the limelight, being seen, recognized and admired. Writers such as Antonio Porchia, Jose Lezama Lima and Felisberto Hernández not refuse to talk to a small group of friends, but give a lecture before the horrified five thousand people greatly (is it in this sense that Porchia says: "One hundred men, together is one-hundredth of a man "). Like posting, feel a tremendous pride in each book and in some cases to the complete works, but know they will never to millions of readers and their names are never in the best-seller lists a week, month or year.

We also recognize the unclassifiable because when they talk do not make concessions. And even when they speak, they seem to be two sentences of Antonio Porchia, "I speak thinking I should not speak: I speak" and "When I say what I say is because he has overcome what I say." Fortunately spoke, fortunately for us let themselves be overwhelmed by what they said, that is, so say . For this is no trace his everywhere, and especially because we owe the great lesson: the search for traces of ourselves, of finding our own compass, not content with what we are given, to develop our own individual antennas for the reception of these vibrations to which we called strangeness.

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[Continued.]

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unclassifiable writers: the strangeness (fifth)

DGD: Textile 67 (clonografía), 2009

5

A Julio Cortázar be the first international dissemination of the work of one of the more unclassifiable writers of the twentieth century, the Cuban José Lezama Lima, to all through the trial that he engaged in the pages of the book, almanac Around the Day in Eighty Worlds (1967). Input in the text establishes its territory Cortázar:

These pages about Paradiso, a novel by José Lezama Lima (Ediciones Unión, La Habana, 1966) is not a study on the novel of Lezama, would require careful analysis of all his work as a poet and essayist in the light of the most fruitful developments in the anthropological field (Bachelard, Eliade, Gilbert Durand ...), but the sympathetic pathway approach that chooses to engage all cronopio trade with another.

The word "cornucopia" is an invention of Cortázar that is less likely to classify the unclassifiable that refer to certain things of unprecedented creative freedom (in very plain terms, the cronopios , heterodox, have as opposed to famas , Orthodox, the two are located hope that in one way or another, have the vocation, the call no guarantee of arrival "to transcend orthodoxy through estrangement). In his text on Lezama, Cortázar mark as a method to "friendly approach means that all cronopio choose to engage in trade with other"; the goal is not to let the strangeness of the work requiring Lezama then swallow the tone and thus drying out a text that is to catalog and entrevisiones oblique experiences.

The spell is indispensable, because in the course of the trial Cortazar sees the need to address, and exorcise the word "banned in Western intellectual discourse: ingenuity. Lezama because the greatness of his character classic in the purest sense, does not automatically terminate certain records of the naive, but even based on them. Thus, Cortazar writes:

The irony defense that relies on surface defects of the sum to be cause in many of the unusual candor that emerges in the moments of the narrative of Lezama. In the background is for the sake of simplicity that I speak here of him beyond all school fees, I know its penetrating effectiveness, while so many seek, Parsifal is, while so many talk, Mishkin know. The Baroque complex that is taking root in our American products as diverse and as brothers at the same time as the expression of Vallejo, Neruda, Asturias and Carpentier (gender do not fund it), for very special stained Lezama an aura to match that word only approximate: ingenuity. An American ingenuity, insular in direct and broad sense, an innocent American. A naïve American innocence opening Eleatic, Orphically eyes at the very beginning of creation, Adam Lezama prior to the fault, Lezama Noah identical to that in the Flemish paintings diligently attending the parade of animals: two butterflies, two horses, two leopards , two ants, two dolphins ... An early all-knowing, a sorbonard American compliment but as the stuffed albatross knowledge of Ecclesiastes not have become a wiser and a man Sadder but his science is palingenesia, is known as original jubilant, born as water and fire Tales with Empedocles. Between knowledge of Lezama and a European (or their counterparts River Plate, far fewer Americans in the sense that it points) is the difference goes from innocence to guilt.

The Western rationalist accepts any charge, even the most serious, except one: being naive, and that because his claim to fame than of malice, resulting in a wisdom that can no longer wonder, all-encompassing, and whose last taste is the bitterness, cynicism and disillusionment. It is so afraid of orthodoxy to the naive that the prevailing academic style model in the West considers a synonym of impoverishment clearly ... or innocence, which is conceived as the declared enemy of wisdom, in turn defined as scholarship. Therefore

the worst accusation that can be classifiable authors, and a fortiori to the unclassifiable, is precisely that of being naive, primitive or self-taught, the latter always said by sorbonards completed, ie by those who understand the disappointment and bitterness as a single crown of wisdom ( naïve is an adjective all author directed to where there is a poetic palingenesia , ie a continuous self-creation.) It is therefore doubly appropriate differentiation which Cortázar (The difference goes from innocence to guilt. ") In the text quoted is well established that difference, but it remains one that is necessary to determine "whether this is indeed possible.

Six years after Rayuela, in another book, calendar, Last round (1969), Cortazar abounds on the subject of the eccentricity and the text "Given the success, or the firm as iron piantados "now presents excerpts from a book-utopia Francisco Fabricio Diaz Cuban also called Poetic test the effluent cristífero spell, it is a copyright issue dated in 1961 whose subject is rather obscure but seems to focus on the possibility more or less described by the author taking a picture of Jesus Christ and in general to other EXPECTRA ("must be ghosts who cough a lot," said Cortázar). Diaz prefaces his book with a thought vaguely attributed to José Martí that could well be a declaration of principles of universal piantadismo: "The greatest percentage [ sic] of genius and even supergeniuses, down to the grave unknown to themselves." A first scale is immediately, and a question that only sounds like initially naive itself: what is the difference deep among the ingenuity of Lezama and Diaz?

In another text in Around the Day in Eighty Worlds ("The gesture of the index finger placed in the temple and move as one screw and screwdriver), Cortázar word designates as piantados "One of the cultural contributions of the Río de la Plata. Readers north of 32 take note of that comes from 'piantare', in Italian be sent to move, illustrated by a resounding acceptance tango and you will hear the noise of broken chains Pianta of the wheel ... Did my wife! . " In the beginning the ginners is, therefore, the "Ido", but this unit also can be taken apart, as glimpsed Cortázar: "if the capital boasts a commendable rate of piantados, however our provinces are still full of gone, the linguistic quarrel is not important when there is hope that the sum of piantados gone and one day reach to counter the influence of the wise, with which we are going so far as you know. " And then, even more so attentive Cortázar terminology as it poses a new dilemma:

The difference between a madman and a piantados is that the insane tend to believe sane while Pianta, without thinking systematically about the thing, feels that the sane are too symmetrical nursery Swiss watch, the two after one and before three, which judgment-unopened because a piantados is never a good thinking or a good conscience or a presiding judge, "this guy continues his way down the sidewalk and rather against the grain, and so it is that while everyone stops the car when he sees the red light, he presses the accelerator and God save you.

And to compound the difficulties qualifying, says: "All ginners is cronopio, meaning that replaces much of the humor of those mental faculties are the pride of a prof or a doc, whose only exit if they fail is crazy while being piantados is no outlet but an arrival. "

What is Latin America for the world, perhaps it is Cuba toward Latin America. Or maybe it is Uruguay, a country that seems particularly fruitful to some kind of rarity. In the most unclassifiable and high registers of the weird, the great example remains the work of Uruguayan Felisberto Hernández, the disclosure should also be highly Cortazar. In the preface to The house flooded and Other Stories Hernandez, Cortázar attempts, as it did in the case of Lezama-give " fulgurating jump only thing that matters to him: the estrangement, the unspeakable making immediate contact, that is all that we ignore or dissociate continuously in the name of what is called life. " (In a letter to Ida Vitale-September 20, 1973 - Cortázar remembers "the past when I was getting into his secret world [of Felisberto], the fifties when I discovered that someone over there [on the other side of the River la Plata], had written one of the most amazing works of our time. ") And he adds:

always secretly anguished call to literary criticism as a work place of Felisberto tends to draw from his hat the great white rabbit of Surrealism is a way to fix the image before moving on to something else, and it is true that the rabbit is very much alive and constantly walks on the piano of Felisberto. [...] But here operates Felisberto discriminatory maneuver would have been the first to refuse. How long will insist on putting the surrealism in a privileged spot falsely, which is a way to marginalize him in front of a supposedly more urgent and important? How long teaching surreal absurdity, once promoted by Breton, later by his followers, and always eager for some critical simplifying cloud?

A second scale appears when one considers that Cortázar also released records another rarity, the Uruguayan piantados, through the appointment made in Rayuela of excerpts from a book of Ceferino Piriz, light world peace, whose history is no less eccentric than its content: in 1953 he was sent by the author in an essay contest sponsored by UNESCO. Cortázar, elected as a member of the jury of this competition, was saved from oblivion in this and other texts:

As things are true in his own ways that are not always those of Unesco, barely lit the lantern-contest appeared enormis piantados envelopes and packages of all colors. Of course no one heeded them and the prize was given to Wladimir Weidle intelligence is the same, but I could save some of the most memorable manuscripts, and I was slowly giving way to the awards I could. Cefe walks with me and in several languages.

The text of Ceferino Piriz loose some ideas for solving global problems and so began a universal classification that sounds crazy and makes us laugh out loud, but the author has done very seriously. When Cortázar wrote "Surrealism tends to be more active and effective in the hands of non-surreal" ("Theory of the tunnel"), perhaps related to samples as light world peace.

The author of Rayuela even considered the idea of \u200b\u200bexplaining in the novel, through a "note editor, Ceferino Piriz that was not his invention and had merely quoting light world peace, adding the story of how this manuscript had come into his possession. For if Piriz had been a character would have been a "bad invention, a cruel mockery, and quite useless addressed to certain writers naïve or" wild " while existing summoned to literally unbelievable, but not implausible but insulting to the modern mind. Cortázar dismissed the idea of \u200b\u200bthis note under the consideration that was a breach of the convention of reality of the novel itself. (Of this there is no record, but you can imagine, finding a way to insert these fragments into a book that was out of the book but also in acting as its great sounding, Cortazar has thought of "expendable chapters "that made the fame of Rayuela as plural and permutante book.)

stupefaction

A reader when checking Rayuela Piriz writers there, so much deprived of intellectual malice (in the case that this reader has not encountered before with other rare ), adds a question that is never fully responded: Why interested Piriz Cortázar to such a degree as to devote so large a novel space on the other hand is full of references to great literature, to serious work, the bright malice (which by the way the author devotes less space in question)? The critic Luis Harss attempts an answer: "A Cortázar liked it because it seemed a perfect example of the extreme injustice that can pure reason ('the last thing you lose Crazy is their ability to reason, "said Chesterton) and copied it without changing a word. And the truth is that it fits neatly into a fictional landscape in which the farce and metaphysics come together to break through to the ends of the known between apocalyptic boundaries seem the products of a monstrous settlement in a Turkish bazaar or market flea ( Ours, 1966). But the question remains: why fits perfectly? Adolfo Castanon

reminds us where it comes from our attitude of receptivity to the strangeness: "The cult professed Macedonio Fernández, César Vallejo Oliverio Girondo or would not entirely explicable without the surreal impression. Vagaries of history and geography, first fell in love with the Maga and after Nadja. Small first New World Symphony Cardoza and then travel to Mexico Artaud "(" Self Portrait with scenery. André Breton, 1996). And Tomas Segovia who back even further the line and see that calling it the surreal coming of Romanticism:

romantic What they say is: "We know what Homer said, but also what he meant without realizing it, how does an epic poem and what was the historical context that made his writing, but to know that we have lost the power to write the Iliad. " But this thought did not confronted with the reason or against science, but from reason and science. The Romantics were scientists and were considered the heirs of Rousseau and Voltaire; what they wanted was the synthesis, were critical of the objectivity that we lost a genius, why come to obscure languages \u200b\u200bsuch as religious or magical language of those who have been banned for the reason: the insane, children, women, savages. [ Islands, Barcelona, \u200b\u200bDecember 2004.]

While still searching for the summary, with increasing awareness of the potential treasures it contains, the strangeness continues to perform on their own terms, without reconciliation or synthesis with no concessions to those who want to interpret it, place it, cataloging it or categorize it, and above However, no possible code to bring it everyday and even less to see as the very source of the everyday.

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[It has been built here a part of the unpublished book to read Rayuela .]

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[Read sixth.]

What To Write Inside A New Baby Card

unclassifiable writers: the strangeness (fourth)

DGD: Landscapes-Blue Series 21 (clonografía), 2009

4

Since we are speaking here of writers unclassifiable would describe how does the modern effort of classification, and perhaps the most telling example of this issue and side items is the experience of one of the most reluctant writers to classifications: Joseph Conrad (1857-1924). This involves briefly drawing a picture and go back to the last quarter of the nineteenth century when the British Empire reached its maximum expansion and power through a multitude of colonies and ports that are spread throughout the world's coastlines, from the South Pacific to India and the Far East. The rapid growth of commercial shipping long distances between the capital of the British Empire and its colonies led to a series of technical changes, the most profound and significant was that affected Victorian navigation.

For millennia man's relationship with the sea-the most fascinating expression, terrible and uncontrollable natural forces, had resulted in sailing. The sail with the help of the wind had derived not only a way of life and art, but an entire philosophy and worldview. In its thousand ramifications, this design included a pace , a dialogue of man with nature and the oldest meaning of concepts such as adventure and exploration. In the late nineteenth follow, the English imperialist expansionism began to demand an acceleration at all levels, primarily in the vessels, requiring greater speed, capacity and military power. Thus, the sailing, with its ancient traditions, its hardness and defiance, was replaced in a short time and not a little violent, the dehumanized, predictable Asepsis impersonal moved by steam ship with a steel hull.

Conrad, fascinated by the adventure and the hardness of the nautical life, became a sailor at an early age and witnessed the extinction of an entire world, demands of capitalism and the imposition of another monumental beginning with the replacement of pace by hurry. He was born the modern swift, consuming itself, which would extend throughout the twentieth century beginning with the industrial revolution.

Conrad tried to register in their writing remains the world was dying and therefore, very conscious, filled with its texts a unique gallery of human types in extinction: captains, officers, sailors, ship, old salts, etc., in an attempt similar to other great literature of the sea like Melville, Stevenson, Kipling and London.

The first two novels of Conrad, Almayer's Folly (1895) and An outcast of the islands (1896), were greeted in a curious way, since it immediately fueled the author's reputation as "a exotic romantic storyteller "a misunderstanding that would haunt and torment for the rest of his career. It is a nickname that is worth further consideration, since it can be clearly seen that since historians often do modern critics: if a writer as Conrad laments the disappearance of a violent world and its replacement by a much less human, it is called "romantic." This word is far from being used in the profound sense that gave the romance in the time of his powerful art, but simply, it becomes synonymous with "idealist."

problems the easy classification of Conrad as a "romantic" begin with the fact that, while this writer portrayed the contradictions of its characters and explores the trend of the devastation, rapine and evil, then the historiography and criticism, from this side of Conrad's work, they call it "precursor of modernism." There are, therefore, in the same author, two opposing sides. One of them is applied the label "romantic", which is associated with the "idealist", it is clear that here is a unique fusion of "idea" with "ideal" who has ideas is who has ideals, and the idealist is one that is anchored in the past, as obsolete, in the abstract, in the dark ages .

Rather, what matters to the history and literary criticism is other side of Conrad's work, one that is not based on the ideas (the ideal) but on "facts", ie "acts", for here is part of another forced synonymy and understood, the " act "with" currently "only" facts "are" current ", ie modern , and not all the facts but only those that are linked to the conquest, war and devastation collectively and individually.

In other words, to criticism, and not a little uncomfortable way, "Conrad is archaic when world rescues a late (rescue understood as idea, abstraction, Utopia), and is effective when it focuses on the individual's tendency to evil (a trend seen as fact, concreteness, realism). If Conrad was only the first, would be a "romantic", an "idealist" terms in which it is understood others as archaic, obscurantist, reactionary, escapist, even reactionary. But it also the latter (a portrait of vulnerability and the venality of man), and it is this facet that "saves."

In this consideration, the author emphasizes the ideas is "romantic", while that puts it in fact is "modern." No other significance is this paragraph from a popular encyclopedia

Some of his works have been labeled as romantic, although Conrad usually soothes the troubled romance with realism and turns the moral ambiguity of modern life. For this reason, many critics have placed it as a precursor of modernism.

First merit recognized by critics: Conrad "normally softens Romanticism" (the plot, ie, known to excuse this fall with a load of realism , involving "conflicting orders" and "moral ambiguity").

The English version of the same encyclopedia also contains this sentence: While Some Of His works Have A strain of romanticism, I is viewed as a precursor of modernist literature ("While some of his works have a tendency toward Romanticism is seen as a precursor of modern literature "). It is significant that the word strain, equivalent to "trend", "vein", "tone" also means "strain" and "exhaustion", and it seems free one letter over the distance of stain "stain." Second merit grant the author: Conrad wash their own spots. Hence, his biographers use phrases such as "disciplined his romantic temperament with an implacable moral code." In other words, managed to overcome its tendency to falsehood, illusion and escapism utopian (ie, to oppose the definition of the world accepted by the rush of modernity) through a discipline made of pessimism, precision and truth .

's just why the same encyclopedia in English translation comes to a crushing-and unintended-revelation when he accepts that Conrad's literary work "fills the gap between tradition classical literary writers like Dickens and Dostoevsky and modernist literary schools. " How sad destiny of unclassifiable writers, to "fill gaps", ie to work, without any deliberation, to confirm and hold that perfect world order that tend classifications. There is but one step to imagine that Conrad, when he decided to devote himself to literature, he said "my great vocation is to fill gaps."

Once located in vein, the same Encyclopedia notes: "Conrad, along with the American author Henry James, has been called pre-modern writer, and also can be framed within the symbolism and literary impressionism. " In less aware this is a "classification plural" (an effort of understanding) that an acceptance by any side you want, and Conrad is paid to have done a great service to the world map of literature, that of having "filled gaps "This means that filled gaps, which helped to build bridges between ideas (the obsolete and archaic) and facts (the new and modern), but not to bring ideas and facts but that they replace those ideas ( the same way that the engines replaced the sails).

Just the facts are read (accepted, understood) so far from the reader organicity Conrad's work (and not divided into facets but seen and undertaken as an adventure, an inner exploration, an indivisible unit.) Modernity sees only what you see, and therefore are not known even the most famous paragraphs Conrad, for example one in which, in her most famous novel, The Heart of Darkness (1902), warns that the accent is in fact closed in on themselves (which is otherwise not realistically only genre of modernity), but viewed them as metaphors:

The stories of the sailors have a frank simplicity, all its significance can enclosed within the shell of a walnut. But Marlow was not a typical man of the sea (with the exception of his penchant for telling stories), and for him the importance of a story was not in the kernel but outside, enveloping the story in the same way the glow surrounding light, like one of those misty halos that sometimes are made visible by the spectral illumination of moonlight.

obsession with the facts, believes that there is nothing more than reading the open book of reality, the reader away from that statement of principles literary Conrad recorded in the preface to the black Narciso The (1897):

Por el poder de la palabra escrita hacerte oír, hacerte sentir [...] y, ante todo, hacerte ver. Eso, y no más, y eso lo es todo. Si lo consigo, encontrarás ahí, de acuerdo con tus carencias: ánimo, consuelo, miedo, encanto —todo lo que pides— y, tal vez, también, el vistazo de una verdad de la cual te habías olvidado.

[ Leer la quinta parte .]