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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 .]

Animation Pregnant Women

The farce of democracy

Just commenting on a fact I've been reading and I play what does not ring.

If a referendum is, however is not binding, and "just vote" 18% of the population (of which 91% voting yes), that does not mean that the remaining 82% of the opinion that no .
That means that 82% are lazy passing of democracy and do not vote.
That means that they move less than Bert and Ernie on a bed of Velcro.
That means that 82% is the sweat, it comes loose.

I'm sick of that "is interpreted." This is a democracy, if you do not vote do not vote, period, not interpreted cazurros bunch of crap. Country
dioxide
blessed ...

Bubble Letters For Happy

In .. independent .. independence! Friends will be friends

Today marks the final consultations (no referendums) on l'determination of Catalunya, and is celebrated in several villages, the largest among them Barcelona.
The question is clear:
"This d'acord amb Catalunya esdevingui that an Estate dret, Democratic i social, integrate into the EU?"
"You agree that Catalonia will become a rule of law, social democratic and integrated into the EU?" Many people

critical meaning and existence of these consultations with arguments to each more absurd.
That if you are illegitimate, that if they spend taxpayer money, if you seek to break Espanya, and other nonsense like that.

For starters, no such consultations binding (and hence are not referendums, I pillaís huh?) represent the true meaning of democracy, that is, as politicians should not get wet and Espanya as demonstrated by CT Case does not include living in harmony a people who feel different from them. an organization has rolled up and decided to ask the Catalan people who think.
With this I believe the first two are crap resolved. Nor is it illegitimate to ask the people in a democracy (of course!) Or the taxpayer is paying a fucking guy, unless to do so voluntarily.

on what is broken Hey Panya, for which you want to tell you, I do not care for swimming live in a country that's got me like a fucking slave paying a bunch of bums who have had 30 years to fix your shit autonomous community. But ah! Sure! You are very well without giving a stick to water and what you pay for the others! ¬ ¬ U
Espanya But that is they want, the Catalans and the Basques currando as slaves, paying a fortune and not seeing or 70% of the amount paid.

great thing is that we have reached a point where non-independence arise independence (read if you feel like this article Newspaper) but this country is tightening and tightening tambourine. To see if the locals (I no longer am ... not whether for better or worse, mine is clear that although I have uprooted am Catalan) are animated and show some interest in the world in which they live. ------------------------------



Meanwhile Icelanders have given us all a lesson in how they should doing things, since they have had to vote if the country paid the piper (the debts we) of one of its banks to foreign investors are poor and they have said "NO! course!"
As I read in a commentary on the news, "perhaps the banks gave us money when things went well? But that pay for them? Managers pay!" (More info here ) ------------------------------



And all this has happened the same week as their distinguished ladies and gentlemen, Members Europeans have refused to fly in anything but first class and get off the salary, so they work! Damn bastards
gan children of p ***. By guillotine I passed them "and see how it does next." Start


be time to open up all eyes, let's take the bull by the horns and put before us, for these politicians doodles are little more than a number, one vote, not worth a shit and we prove it day in and day too.
why I cry

INDE

IN INDEPENDENCE!

Visca Catalunya! (From London with love

Well, third week in London and everything is interesting if not more, people are very civic unlike Barcelona, \u200b\u200bbut the city is really stressful, there are many people, but great!

Best of all (and why I write this post in Catalan) are friends, I leave my land. Even while the plane was a part of me singing "Red River Valley" I knew that people love, that really count, although all would have nosequants half miles.

The fact that you have shown me, as if necessary. People really worth has remembered me (yes, that is "remembered," but I said all my life remembered ... You can blame my mother xD) and yet still be far feel near.

And this post is a dedication to friends as the song says Queen "when you are in need of love they give you care and attention" and that is that whenever I wanted I received ... because if one thing I learned is that they do not have a crystal ball to know when I'm fucked if I call you but will always be there.

I come after hundreds of memories. Send a message all rallies and receive the call I wanted to get two minutes, wanted to stay I need to talk and have them on my side ... if ever there were was my fault, not to say that there needed to be.

The fact is that among all friends and friends that you find throughout your life there are some to stay, and they really are and they are worth preserving whatever happens.

And here a tip for all, dreams can be achieved if one can believe that, otherwise you espabilat. That life is too short to be wasting time on someone being 'what society accepts, "Be true to yourself, there is nothing greater than going to the Mount getting what we want, all you want, without betraying who we are.

Dark Circles On Dog Skin

unclassifiable writers: the strangeness (third)

DGD: Landscape 38 (clonografía), 2001

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3

One of the hardest tests that are sometimes the poet, the artist, is the acceptance of their marginality. Today's society is made to look the "stars" to promote the motivations that day. It might even be a question of rhythm: the rhythm apparent, sons of the momentary interests of the seduction community or circumstantial, not match with what one is. [...] The media imply a lack of human charity. And apart from the commercial aspect, offer essentially show, something that poetry is not .

Roberto Juarroz

Another book worth considering breaking all the expectations of restraint and not only for its size (it is divided into two thick volumes, one of 1.676 pages, the other 2.376) but the title and the euphemisms that are proposed to encompass the unclassifiable. is Crazy, eccentric and marginal Latin American literature (CRLA-Files, Poitiers, 1999), which also includes the papers of a meeting of writers, this coordinated by Joaquín Manzi, as untypical Latin American literature, is clothed with the character of being an "accounting of the marginalization of literature in the century ends." Here, then, euphemisms are not considered necessary: \u200b\u200bthis book in two volumes and does not seem dedicated to writing secret and not even the "unusual" but to the madness (the first volume begins with "Map of American madness" Maryse Renaud). However, the latter is associated with the eccentricity and marginalization, which are two characteristics of "atypical." That is, it addresses the same but with fewer scruples.

Thus we speak of Mercedes Cabello de Carbonera from under "Madness announced, or Afonso Henriques de Lima Barreto as dipsomania and submission to the madness", and Francisco Matos Paoli is labeled as "crazy poetry. Regardless of the quality or hastening of the respective judgments, this first volume that holds the secret, unusual or eccentric to be associated with terms such as madness and art. Even though the various authors try to situate the author who studied in a particular record of this scale, the other items around and delimiting this figure.

This happens with the inclusion of Juan Jose Arreola and Efren Hernandez with names such as Horacio Quiroga, Vicente Huidobro, Oliverio Girondo, Gabriela Mistral, on the one hand, and on the other those of Qorpo-Santo (José Joaquim de Campos Leão), Juan Emar (Álvaro Yáñez Bianchi), Emilio Lascano Tegui (self Viscount), Joaquim Machado de Assis, Porfirio Barba-Jacob and Roberto Arlt. Since they are included in this volume, these authors, even "vanguard" ("atypical") that is, acquire respective combinations (which the reader does not bother to measure individually) of three elements: "crazy", "eccentric" or "marginal." Your choice.

The second volume includes essays whose titles provide new inferences of synonyms for writing secret: heterodoxy, range, rarity, periphery, benign madness. "Crazy, eccentric, marginal or all together? Some of the authors studied, as João Guimarães Rosa, Alejandra Pizarnik, Enrique Lihn, Paul Rokha, Mario Vargas Llosa, José Lezama Lima, José Revueltas, Augusto Monterroso, Lillian Hellman, Clarice Lispector and Leopoldo Marechal, are or are not marginal according to how they want to see. Everything depends, therefore, the burden of giving meaning to words. To be called marginal Borges, Miguel Angel Asturias even Agustín Yáñez or they could be described as eccentric, too, if you wish, Octavio Paz could be placed in the category of insanity. At the end of these large volumes, the reader can not fail to see some form of rarity in any writer, any human being. And perhaps he lacks some reason .

Books like those mentioned above attempt to "separate" the canon (typical) unclassifiable writers, sullen to their generations, unwieldy by orthodox critics. (Moreover, criticism is not designed to detect who has genius, but exactly who do not have . A criticism is to "conquer" the same way as everything else: with obsessive determination and through complicated strategies, but mostly playing the game that she understood and controlled. An author who wants to show that he has awakened genius scorn and contempt, the artists have learned that the best thing to be granted is a bitter cynicism begins to accept that the "genius" is a thing of the past, romantic, démodé , primitive and finally completely alien to the human. And the human, the same way of these inferences, is defined as failure.)

dint of digging into these works, so that such interpretations end up doing is to present the reader with a new table definition. Faced with such weirdness, who reads these anthology not conclude that these writers are unknown undisclosed, but because they lack the merit of those that are "known." In the vicious circle, it is understood that these are exactly known for its merits (the first one, the sanity), so is outside the canon, either for lack of merit, or by indifference to them .

However, such "extravagances counts" there is at least some form of affirmation given to the minority, so flows the understanding that there is some merit to avoid being classified , but do not drive that merit to be known but by small groups of readers (how tricky this statement is the cult of eccentricity itself, the transparent is the need to get amazed at the strangeness). Atypical anthologies as American literature and Locos, eccentric and marginal Latin American literature are in a dangerous edge because they end up, regardless of their good intentions (especially to rescue from oblivion the cataloging reluctant works), by be efforts to classify the unclassifiable (rationalize the strange, chaotic order, establish exceptions that prove the rule, so at the price of making authors misunderstood in incomprehensible), but there would be no interest in editing if not sensed, in essence, a call of another kind or, rather, the fact that it is necessary another mentality access otherness. It is essential to face surprising strangeness, which means no confirmation transformed into normal.

The danger of each of these books anthology is that, willy-nilly becomes a ship of fools , that is, requires rare to board a single ship, when the only way to be faithful to them would let each in his personal watercraft and sail the seas to see who wants to explore without trying to tell the direction. In theory, this is what has made each author of the essays collected, since it is supposed to be a specialist in a particular figure atypical, has investigated individually, and only knows the other "atypical" less intensive modes (if not ignored), but reading it sometimes appears certain that, even when the biographer is only to the biography, there are moments when I considered not so staff but it would seem almost communal, is say that the tester is of the mindset dominant majority the consensus always defined by opposites (as coherent as opposed to the incoherent, etc.).

The merit of this anthology lies in bringing together material that was published separately elsewhere, eventually dwindle and become mere "curiosities" due to comparison to its context, however, happens that when a joint is a chemical reaction explosive. The reader's experience shows that, from a nondescript to another and another, begins to make comparisons, common denominators and overall criteria in spite of his initial attempt to understand that each of them is sui generis . Just as the authors of each test, the reader will therefore begin to classify ("this is weird," "this one is eccentric," this is great "). When you travel enough text, the reader should recognize that the inferred items are all writers, known and unknown, in one way or another: mad, marginal, dangerous, cutting-edge, peripheral, forgotten or heterodox.

In the second volume of Locos, eccentric and marginal ... Claudio Canaparo A key when Elijah Ingar described as "a writer fallen off the map". In effect, the maps are official and an official (canonical authority, cultural power) that decides who to include in the maps (the power, through its main tool, the propaganda, which says who "is" and who "is" not only that, but what and how they are the merits needed to "be" and to "be"). But it also says Ingar Canaparo not simply "not" on the map, but fell him. New synonym for a writer inferred secret: the crash. The simple fact of not being a celebrity is converted to the ominous (re) fall into anonymity.

only so the only surprise that actually generates the majority reader of this book in two volumes is that which arises to note that there may be writers who are not interested be on the official map. All strange that they acknowledge is an eccentricity of not having dedicated his life and efforts not just to be on the literary map, but above all, to avoid falling him. The price of this is terrible, to posterity not interested in these figures but one thing: why not fathom the horror fled, like all of the terrible void of anonymity.

springs here a crucial question: how a secret writer becomes "paradoxical and contradictorily-known? Sometimes it is by one person, usually another secret writer who writes one or more texts with the total certainty of being the only one who knows this author and thus becomes itself "authority" is ie specialist. In the two books mentioned only three names that are repeated: first Elena Poniatowska, a well known writer, and on the other Qorpo-Saint-secret and the Viscount de Lascano Tegui. Does this indicate greater accuracy in the classification of these three writers as "rare"? Or simply means that the call was made to specialists rather random and therefore did not who know and have dealt with the work of these writers secrets (in which case there would be more repetitions) or many others (in which case both books could have been a thousand times more pages)?

is said, perhaps without too much exaggeration, that every writer who comes to the "marquee" (or "candlestick") supersedes its predecessors and represents (or hide) a hundred more that remain in the shadows and that "naturally "fought hard to occupy the same site. Who analyzes the picture from this mentality is based on reasoning that in principle seems false: no writer who voluntarily autodefiniría as "secret." Ergo, the goal of all literature is the marquee, either (at one end) by lust for power or (in another) and need for disclosure. And if all motivations, ethical or not have a single goal, under "secret writer" always comes from outside and involves one whose strategy of power failure (on one end), as well as to the other who does not have the media to advertise (on the other end.)

All writers, then, would be playing the same game, regardless of their motivations: a power play. Part of that game, then, is that every player agrees (more implicit than explicit) that if no "Merit" attributed to it items that would never have chosen for himself or for his work and always come from outside, eccentric, marginal, maverick. All these adjectives are in the same line as crazy, dangerous, forgotten ..., and the latter will go to anyone who wants to play the game, to warn of the dangers running if you really want to leave anonymous. It would be interesting

analyze how the specialists included in these books relate to those who study authors. The analysis will be subjective, no doubt, but still presents a scale ranging from admiration and enthusiasm to scorn and ridicule, and at its midpoint manifests a kind of academic indifference "objective", a large part of the text is in this middle ground, some in need of a "critical distance", others in search for dispassionate portrait it is the reader who form an "opinion." However, since the name of the game for both titles is "eccentric" in almost all texts will be some form of bewilderment: at one end of the scale, this will happen when the devotion of the biographer encounters dark areas or unexplained in life and work of biography, at the other extreme, when you get tired of seeing specialist everything through the lens of the picturesque. Conclusion: there is no language or style capable of describing the real surprise, an area of \u200b\u200bthe spirit for which there is no name (of a hill that is, in essence, unclassifiable). He understood

according to which every writer needs heterodox orthodoxy by force, rests on the truism that even published writers secrets, ie require readers seek recognition. But is it the same? Is it possible to feel a difference, but it is difficult to specify in each case, among the writers who claim to be recognized at all levels, and publishing to find readers in the highest sense of the term? If there is such a difference may perhaps be stated another way: there are writers who speak to be noticed, and there are those who speak because they can not stop saying what they see in the world.

How painful it must be that an unclassifiable writer requires a recognition among readers accustomed to being recognized and being according to a consensus of rigid classifications. What a great loneliness of each writer unorthodox, because by its very definition can not form groups, schools, currents, and in the few cases where, despite everything he has done, fails to form, precisely and to the extent of his honesty groups eccentric , Marginal schools, current atypical , all away from the limelight, the media, on the merits. This is why the vast majority of writers choose to assimilate input to orthodoxy, to play the game of prestige although some of them dislike, make merits of the only established, which usually ends up diluting the artistic power of each ( but at the same time begin convincing them that they have sufficient strength to cross the swamp without getting dirty). How sad, particularly, vengeance perpetrated against which manifests against the Olympic game recognized prestige.

A stunning example of this revenge is offered by a text in the first volume of Locos, eccentric and marginal ... signed by Hervé Le Corre, whose title is "From the rare degenerate (critical psychiatric and modernism)." A title and lost the "seriousness" and become complacent pedantic, condescending paternalism, even unveiled as a sign of intellectual imperialism that is allowed to be commiserate with the strangeness, and this record extends to all the authors collected in these volumes. What remains after reading these books, in addition to the estrangement in the reader? The final image is sadness and noise. Nobody

concerned with the sensational title Locos, eccentric and marginal Latin American literature. In fact, should be chosen carefully to find what is called a "marketing strategy" (ie to sell a book in half fiercely unclassifiable rated). Ultimately this book does not disclose secrets writers, we sell more or less picturesque forms of madness and sometimes, as in the case of Le Corre, striking forms of degeneration. How many of these writers would be horrified to be stuck in the shaker, and above all be appalled at the fact that posterity has ended up designing their visions the world as a degeneration, as eccentricity, such as dementia?

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