Free Sean And Cody Vidos

Contra An interview about love (I of II)

DGD: Landscapes-Series Arctic 27 (clonografía), 2009

*

[With the first half of this interview so far unpublished celebrate the second anniversary of this blog. Thanks to friends for their support. (DGD)]

*

The Otherness capitalized

Interview with Daniel González Dueñas

(First of two parts)

* Ana Alonzo

*

*

- In your work, which crosses the genres of poetry, novels, fiction and essays, and has an emphasis on issues of film and literature, what led you to write about love?, " and why at this point in your life?

* "It's the big issue behind all issues, and the challenge could hardly be greater: it is a path that must be followed precisely in the land where no roads or even field. I do not know to what extent can we speak of times or moments: a book that is being written in a while and only now I felt I could risk the weather.

*

- One of the most interesting aspects of Contra love is that it gives a character to something plural first person ever enunciated and intimate way. The structure of the book's dialogue, how did, how would you explain this structure?

*

-divided the book into two parts, one that brings together diverse evidence or anecdotes, and some reflection, and began to talk. In A Lover's Discourse Fragments Barthes us that the discourse of love (if you can call speech) exists only in fragments that are never going to make a whole. The fragmentary is the only one who has any hope of catching him untouchable. Barthes reflects the love lyric of all time and realizes that all we live in every encounter significant whole (each event is unique and yet, plural).

* That meaning I like to think of this book like a novel, because it has a certain dramatic structure and even more, like a novel "first-person plural" (which could be stated as I live , while at present and past).

*

- One of the highlights of the book is its coherence and unity, mainly because although there are many quotations from authors such as Barthes, Bataille, Connolly, Porchia, Juarroz, etc. each event is the privileged place of lucidity. What criteria did you take to manage these appointments? This amounts to asking: what were your reasons for order the different aspects of love that you show?

*

-Barthes put together his fragmented in alphabetical order to illustrate that the fragments (which he calls figures) occur in the experience of the love due to chance, both inside and outside, in the case Against the love of there is a certain order, just not obvious and is rather taken for analog magic. This order is not rational, or follow another logic than the gut. The reflective part of the book and the stories or testimonies fed each other in a way that I just had to respect and support. I have only let these two parties talk to each other and both the third and crucial part of the book, which is an anthology of quotations. The three parts of the book is patchy and the reader can play to rebuild their own way, assembling mosaics might be called temporary or virtual, and that's the point: that the "fourth" part personal fragments are provided by the reader.

*

- The speakers are identified by letters of the alphabet, "M", "R" ...

* Yes, even the grammatical gender appears only when essential to understand a certain story, and with it is intended that reader in any orientation, gender or sex may be reflected in very specific situations without losing the notions of community and universality (and is also a way of escaping the innuendo that any story, however innocuous it may seem, the imprint of a whole erotics and sexology officers).

*

- Do you understand the fragments (not just the evidence but also the quotes), as does Barthes, or as the figures almost choreographic sense?

*

"It is certainly the safest way to understand them. If there is any sense in the armed parts of the book, is indeed dance. For example, had been collecting quotes about love and heartbreak from long ago, and the book itself seemed to indicate when to rely on these vital voices: the rhythm of writing opened up a kind of gap as an indication that this was the right place for an appointment. On many occasions I had the chance, by pure synchronicity, to meet with quotes that I had in my library and seemed to direct contributions, comments and annotations about the chapter I was writing at that time.

*

- early reflections anecdotes, and stories reflect; even in a sense quotes are testimonials, as well as reflections.

*

"The intention was that there were no fixed boundaries between the parties. For example, in a few cases there was really a reporter, a certain date (or a combination of two of them) I had to invent the story in which could be inserted as the pearl in its shell, something like add a little context where that quote could sit back and let their brightness hidden.

* Appointments are, of course, voice teachers invited to the dialogue. This collection continues to grow at random from the seemingly unconnected readings with the theme of love, I just happened now, rereading The Edge of water Agustin Yanez, Yanez ends suddenly "preparatory act" (or introduction) of this novel seems to break a line above, that has no background or specific training in the preceding paragraphs and, in its own right, if not already published the book, would appear next to certain statements of Bataille, Connolly or Jouhandeau (or even Don Juan de Castaneda). Figure says Yanez: 'Love is the strangest, the most extreme form of death, the most dangerous and feared dying way of life. "

*

Many hate to love it, for fear of her danger, but not why the book is called Against love. That is not demonstrating against the speaker's transcendent love Yáñez, something as serious and profound as life and death, but against this series of silly trifles and fundamentally utilitarian and destructive media call "love."

*

- In the book you mention that one of the characteristics of amorous discourse of modernity is talking about it in prose, "with the same words that appear in any other discourse, as if the love was a speech 'as any'. "

* "It's the sign of a voluntary impoverishment, we know that the discourse of love is not" any other "but force it to be, by way of revenge. East, however, is not susceptible to the erotic poetry but, and this because the lovers are metaphors can only speak of them metaphorically.

*

- In what sense lovers are metaphors?

*

"In simple terms, a metaphor is to give one thing by another, usually more unexpected, such as "Your eyes are like stars," where the eyes, which until then was a "whole" by pure like nothing else is revealed as part of something bigger. This is the first function of metaphor, open field of meaning: the eyes may be else, which means accepting that are somewhat larger than they appear to be (the first function of metaphor is to break it apparential .) The second function is as magical: the eyes not only understand, feel, or are best appreciated when compared to stars, but stars become in, and even more: the metaphor makes us recognize that the eyes were already stars forever, but we did not realize until the moment of discovery. (Conversely, for every metaphor works both ways: the stars are eyes.)

* When I fall, I fall for a metaphor, ie someone who takes me more than anything else I can not foresee (the intuit but I can not discern, and not only the need but I is indispensable, without knowing what it is) myself because I go out of my metaphor, or rather go out of my limits. The prose speaks of boundaries poetry speaks of the limitless. If we speak of love in prose, we remain chained the limits (all conventional and taxes). Only poetry could make me understand the desire to leave me, to enter the other , and even the desire of two out of "us" and enter ... What? That's the big question.

*

- often thought of love as the output of the "I" to enter the "you", but not out of "us."

* "I think that is the important step that is there, as a substantial part of love, and not take for very different reasons: perhaps forgotten, probably fear. Entry as other not end when the "I" addresses "you": this is just a first step in the exploration of otherness , followed by another step, portentous and dangerous and dreaded, it is out of " us "to get into something that could only be called Otherness capitalized.

* *** *

Against Love (Letters to disarm the erotic model of the West) ,
Council for Culture and Arts of Nuevo León, Monterrey, 2010.
Orders: Erika Angel edelangel@conarte.org.mx , Carmina
contacto@conarte.org.mx Lara, Monterrey Conarte
libreria@conarte.org.mx Library

* *** *

[ Read the second and final part .]
*

*