Fabled Autobiographies: Confession and Fabrication in Daniel Guebel’s Derrumbe and “Una Herida Que No Para de Sangrar”
In Derrumbe (2007) and “Una herida que no para de sangrar” (2015), Daniel Guebel delves into his own autofiction writing: does he write fabrications or confessions? Is such a distinction possible? Can the conscious aim of his writing be contradicted by its outcome? In this paper, we address these qu...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/notalmargen/article/view/44614 |
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| Sumario: | In Derrumbe (2007) and “Una herida que no para de sangrar” (2015), Daniel Guebel delves into his own autofiction writing: does he write fabrications or confessions? Is such a distinction possible? Can the conscious aim of his writing be contradicted by its outcome? In this paper, we address these questions through theories of the autofiction genre; particularly, Alberto Giordano's concept of “the intimate” (2013). There is a consensus amongst critics: a work of autofiction is considered “good” or “bad”, ethically or aesthetically, depending on what position it takes in the spectrum between intimate confession and fabrication. In these two works, however, hyperbolic fabrication is the paradoxical solution that Guebel finds to overcome the impossibility of narrating his pain. |
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