El brillo de una vinchita de nylon
From reviewing the relevance of including Puig in the category of "eccentric" and analyzing objections that are presented when thinking about their location in the field of Argentine literature as an institution and even in the school canon, it is passed to analyze the eccentricity as a wr...
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| Autores principales: | , |
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| Formato: | Libro Capitulo de libro |
| Lenguaje: | Español |
| Publicado: |
Instituto Internacional de Literatura Iberoamericana
2014
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| Materias: | |
| Acceso en línea: | http://sedici.unlp.edu.ar/handle/10915/90366 http://www.memoria.fahce.unlp.edu.ar/library?a=d&c=libros&d=Jpm549 |
| Aporte de: |
| Sumario: | From reviewing the relevance of including Puig in the category of "eccentric" and analyzing objections that are presented when thinking about their location in the field of Argentine literature as an institution and even in the school canon, it is passed to analyze the eccentricity as a writing space to which Puig "resigns". In this way, the work explores advances on the writing of Puig to draw a map that chooses points of intensity in the relationship of Puig with the writing of that which passes from language to literature: that which always comes from outside (the cinema or the voice of the aunt) produces literary effects within the literature itself. That which seems to take literature to another territory (that of social denunciation, that of the media, that of the vindication of minorities), but that Puig's storytelling machine transmutes into literature, "transports". The much mentioned hearing of Puig, capable of capturing the slightest tremors of the tongue, able to reproduce the voices heard, is really a Heard of consumptive (to use a popular expression that reminds us that, on occasion, suffering sharpens the senses) to detect places where power is based on the nature of language. In this case, to detect that the seventh yearning of Be the voice of those who have no voice it was also a form of authoritarianism. The deterritorialization of Puig, then, makes it impossible for him to find a place from which to enunciate his literature. The last question, then, is: can the newcomer write? Can he, in a strict sense, take possession of the language to force it to say? It is not the case of Puig, who rather than owning it occupies it marking that it is of another. What this eccentric proposes instead is the traffic of objects of low value in the market, where what matters is the traffic itself and that the object is not degraded, that in each pass it is reinvented and recovers its brightness, like a nylon hairband adorned with sequins (passed by a friend, without asking the mother) in the dress of fifteen of a neighborhood girl. |
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