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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