The crisis of narrative-the story itself, which involves communication of experience, is not new at all. When Walter Benjamin, in his suggestive essay of 1936 on the Russian Nikolay Lesskov narrator, raised the drop in the price of the experience as one of the root causes of this crisis, must assume that "the art of storytelling is coming to an end because the epic side of truth, namely, wisdom, is dying. " The value of literature possible, then you find yourself in the beauty of "that which fades away," emancipated from the mark of authenticity that would impose a fair voice, and very recognizable. The writing would be associated almost exclusively to the creation of theses and ideal representations in the novel, and I would add, the vertigo ineffable poetry.
who believes that these are abstractions, is not well understood which implies the possibility of a narrative in times of shock . In our was traumatic, almost eighty years after that of Benjamin, storytellers and aspiring to exhibit their work before their name or any possibility of talent have been doing a real treat with the alleged disappearance of literature as an activity obsolete, and based on legitimate authors aware of the crisis as Roberto Bolaño, take the step back by bad prose and luciéndola as a sign of times, cursing and threatening to stop them eating out and political power that has already learned that the troubled waters. Between the administration agreement and the present time, there is much that will not change at all, and one of the misfortunes of the time is to have these martyrs of the disappearance of literature screaming and fatter at the expense of the ignorance of the bureaucrats, from Stop or Mercury to some blog to instruct their workshop owners to put more noise and mouth outside. And that will continue, screaming, getting fat and clownish dictating fees, finding literary creation and taxonomizing only dead objects.
Meanwhile, the real lessons of the crisis of validity of the literature for the times they are still learned and applied, not necessarily in large distribution centers editorial: wait for better times to be read as it should. This I think to Variations on the life of Norman Bates (Valparaiso: Narrative Point Apart, 2010), the second book of narrative C. Faúndez (Valparaiso, 1973) after The silence: manuscripts for tomorrow's suicide (Valparaiso: Ed La Bruja, 2000)-The year 2008 also published a book of poems 34 (Valparaiso: Cataclysm Ed.). In four short nouvelles very different style and perspective, Faúndez displays in his latest book, a mosaic of a powerful narrative originality, focused on a world that has decided to give a closure to all transcendence, but with the footprint of such a traumatic operation, which given the need to escape a stagnant reality, desolate in its deepest sense.
is impossible not to remember Dostoyevskii-and precisely in opposition to that narrative could founded recognized in Lesskov-, when you point this brief description of the world who want to show these variations. Presented here is not that world without God, in which every detail gives the impression of a painful second childhood, double orphan, in that, and lost all innocence, has not seen a be home to live in freedom . The place of elections within Variations is gratuitous space in which the expression itself is a pure burst out of place within a reality that can not be modified or the detail of its darkness. That is why, without descriptions particularly diligent, the visuality of Faúndez narrative is astonishing, as creation of an atmosphere in a few traits, through what is outside the spaces in which the characters move. The primal scene of nearly every story is the view through windows, a sky-repeated characters inhospitable winter-and toward the ubiquitous birds, which have a particular and complex meaning within the narrative world Faúndez.
The appearance of the birds in the Variations is repetitive ad nauseam. Since the bird died of "impossible woman" to the embalming of the latest compositions of the book, you know take the privilege of a complex symbol, which refers to its flying ability, their ability to leave the ground . And although the book begins with the birds seem to mock the first nouvelle Fagestrom is in his death when they reveal their true meaning.
that day, rose Fagestrom decided to water the grave of the bird. Perhaps, he thought, so much water, the bird will be filled with clouds and can fly again, and so the window will be impossible to tell women that he is alive, you can do with it what you come (...) pleases
The bird will not wake up. He is buried as deep as a mirror image. Fagestrom flame. Le consider these things about the bird and the woman said to be tender, but tenderness may leave us vulnerable in this world. He replied that is correct and that the damn truth more dead bird is the shit . The woman can not hang up.
Bird, Fagestrom summary of desire by the "impossible woman" ends unearthed, his body half eaten by worms is fitted with wings and a cardboard appliance to the order of a remote control could fly. But to the unlikelihood of a bird that flew with her eyes closed, the protagonist
remained open (...) eyelids with a matchstick between his dips, but the bird had no eyes. Pearl introduced two fantasy in those holes. The painted blue. A blue-eyed bird should be irresistible to any woman, but do women really prefer the blind.
protagonist's operation immediately sent to the same image of the stories end: to make alive see these birds dead, images of a faint light that tries to recreate the force. Both love to this "impossible woman" as the wishes of children receiving embalming classes Norman Bates, reveal a dark background in operation allegory, in which the portrait of that world is capable of displaying closed its vanishing point, that which allows narratives hold meaning, but represented from its very denial. What better way to express this than by quoting the end of the first section, "Workshop for embalming birds" , the story "Variations on the life of Norman Bates"
I come to accept girls, especially when sunlight falls on their little hands. The girl in question has brought me a flower and asked me if the flowers grow in birds.
- The arrival of spring are reassuring, more birds are in heaven, "he explained.
Then she answers:
- I wish all the birds died, to embalming.
embalming operation passes to function in a free baseless, and in the case of the last texts of the book, the same children of the workshop are representatives of that abyss of meaning, even before we, as readers, access the anguish of Norman Bates.
One of the gates that appear to be vital to understand the predominant emotion in the book is the literary activity. Either way, runs from start to finish the book, always represents a useless exercise, but marked by the same spirit of evasion "The same impossible out that seem to embody the birds. For example, in the instant Fagestrom information without a specific goal, apparently, the "impossible woman" the high price of your water bill, assuming
ends (...) would sell the book collection poetry that her grandmother had given him, for he never read poetry because it scared him. The poetry is lucid, he said, and he was mad.
in which the character seems to establish a transaction impossible to equate these books to the meeting with women, which appears to be absolutely aware of this attempt by filing it the reality principle which you want to escape Fagestrom:
- You're not mad, "replied the woman.
- Loco Fagestrom to have you, "he said.
- So, you're crazy for me, still watering the grave of the bird and hang up.
In addition to the exhaust end idea is the literature in this piece, it is interesting to note, as in the example above, a part of the section "Workshop for embalming birds" (made, strictly speaking, by micro-stories that can not fend for themselves):
The child writer does not like birds much embalming. He likes to write. All he did in the morning, what he did in the evening, and fill and fill pages with his life. I advised him to also write about the lives of others and refused, acknowledging that his life is more interesting than any other. I say that from the outside looks better, but no case: the child thinks that watching out only speculate, but never get to the truth.
as it appears clear that the presence of figures of evasion (the wife of the first novella, birds, literature) is to make sense of the narrative, but from its very apparent absurdity-the act of writing this will make evasion will of truth . The despair lies in the moment that this truth can only present the appearance of life.
These same truths, but taken from a register extremely ironic, are notorious for "The trees burned" and "This happens when three poets decide to build a bomb." In the first novella, the minute you begin to weave the threads of the plot, "the divorced woman" asks "the man", at first the apparent protagonist of the story, who kills his mother.
- How?
- For many poems.
- Will you be able to write thirty poems?
- Of course I can, as long as it disappears of my life.
- Forty would be better.
The crazy story manages to reveal the plot as a part of a series of misleading thread involving the whole story, produced, thanks to the ability of this network and psychological care of drawing the characters, a stunning representation of this world without transcendence may end up destroying itself only. In the same way that poetry is set in a mock brackets, also here the love relationship loses the character of redemption that suggested "Women can not" going to be another useless and almost ridiculous evasion:
The old man says the elderly you're bored of running a motel. The old woman says that running a motel is pure love, they provide a space for people to love, not for getting drunk, or commit acts of violence, nor put a playground for parents to justify their presence with their children. No, they put a motel for people to love, with poems on the walls to be read and weep.
- also lends itself to infidelity "says the old man, and that's not good.
- infidelity in there a little love, "says the old woman, even a little, and a little love in these times is appreciated.
In the last small window that opens "the old woman"-the love as a comfort-end closing with the bleak and violent end of the nouvelle, in which the last sentence seems to echo the desperate nature of the request in the proper sense of this adjective:
Witnesses to the disaster remained embracing, hugging tightly.
For "This happens when three poets ...", Faúndez opt for a plain narrative tone clearly sarcastic. However, the place occupies poetic activity here may account for the same form of this "bracketing" of the loophole.
The world described in "This is ..." is marked by a peaceful appearance, emphasizing the ordinariness of the top three poets who share a house in a "people"-which is not detailed or described, which moves quite the gloomy atmosphere of the rest of the book nouvelles. In fact, the ironic effect underscores a sense of normalcy as to accommodate within it achieves moments in another context would be critical, the possible identification of the poet "three" with Fagestrom, imagine that he killed the other two tragically, if is that means tragically caught between the iron bars of a car after a crash or being crushed by a shovel mechanics in a construction task, etc. .. view of this world, the work of poets as they can only reveal a fundamental difference with respect to the free and fun than in the other nouvelles is established with respect to literature
The laughter in the bar or opinions unconcerned about poetry, which was, in fact, what most concerned about the three poets were only appearances. Everyone would have cut an ear, a foot or arm before filling the blank with a poem unpolished.
From this solid ground, the narrative can be a critical point that significance is unrelated to any outside literature itself. To the exclusion of the poets of the house of programming "book fair"
The poet three said that in that case, the most effective was to throw a bomb at the fair, the same day of submission the mediocre poet. In this idea, the three agreed.
In the brutal disproportion between cause and action shows once again the idea of \u200b\u200bfree acts. The story takes care to present clearly the distinction between the attack and the reading of a virtual art action ( PUMP IS A PUMP / not a poem, he asks them to repeat "the anarchist" to the poets), and conducting same as that achieved exactly dispel any pretense of a chain of causes and consequences. The arrival of the "impossible woman" gives the scene a burden that is carefully delusional back to its center in the last section of the nouvelle, when the two remaining poets
assumed as the new directors of the corporation of writers, beheaded with the explosion of the bomb at the book fair.
When I got home that night, wrote a poem for four hands, dedicated to the sacrifice of the poet three.
The poem read:
love Love is not a bomb
End
The focus of the narrative is, then, is commonplace in the acts are made free. Be seen, then, poets and those who can live in a cold and manage some "state of despair", making daily jumps assume as more extreme toward significance could be found throughout the book: the miracle (as defined) of occurrence of the impossible love while the passage to death, by the poet "three." This, in love with an "impossible woman" - is the only character out of the world marked level of variation, as noted in the opening pages of the novella:
A poet and the poet had written two poems of love, but never felt in love and had never suffered what is meant by suffering of love which is nothing to mourn under the pillow.
The poet three, however, was deeply in love with a woman impossible. (...) With
which seals the fate already outlined for the character was called Fagestrom: how wonderful it could only appear here in the form of an abyss that opens into the disappearance. The final act of "poet three" implies a belief in redemption which abut the love and death.
One of the important features of these variations is precisely the latter, and it becomes obvious to recall the final pages of the Romantic movement (as we were reminded Dostoyevskii) to completion surrealism as paradoxical aesthetic proposal. In fact, convulsive beauty espoused by André Breton in Nadja is a fairly accurate way to define the prose of the book, always ready to escape from the mere referentiality to a perception almost dreamlike. In fact, towards the last nouvelles, sequentiality that could make them part of a prose as such disappears, making the text appear centered in Norman Bates as a poetic narrative that assumes only the vanishing points with respect to possible solutions argument. This makes repeated use of procedures in the prose as such will lead to the accusation of sensationalism, the culmination of simple narrative or poetic images using words-caliber, in this narrative are a fundamental part of a poetic focused on the possibility of moving provocatively reader itself, an effect of seizures led to a stunning climax in the narrative of "real love" with the balmy, perfect opposite of "impossible love." In both cases, the concept of love is something completely different index, which refers to freedom is impossible at the base of Faúndez narrative world.
Violence on the conventional narrative does get into these nouvelles within an area of \u200b\u200bactive awareness about the present condition of devalued experience and point of fainting. The character of Norman Bates represents, as that determines the book from the title, a corrosive force on sociability ending denouncing the text as a fiction-in the world of reality Variations has given rise to grave, and an aggressive final letter to the embalmed Bates is in some ways, an impossible demand in a world that no longer exists. That is why the mood of the book belongs in the absolute sense black humor, another rooting Surrealism consistent with its convulsive beauty - in one of the purest forms that can be found in the present narrative, at least in the environment of the country's independent editions. It is up to
Variations on the life of Norman Bates a presence in the environment of the national narrative, and it is hoped that the work of Narrative Point Apart attain the resonance it deserves-and has been published under the seal also Yuri Niño Feo Perez. The outstanding issue and invoice books, also could open a path of greater demand for independent publication, giving the ability to access markets reading are not bounded to circles of specialists.
who believes that these are abstractions, is not well understood which implies the possibility of a narrative in times of shock . In our was traumatic, almost eighty years after that of Benjamin, storytellers and aspiring to exhibit their work before their name or any possibility of talent have been doing a real treat with the alleged disappearance of literature as an activity obsolete, and based on legitimate authors aware of the crisis as Roberto Bolaño, take the step back by bad prose and luciéndola as a sign of times, cursing and threatening to stop them eating out and political power that has already learned that the troubled waters. Between the administration agreement and the present time, there is much that will not change at all, and one of the misfortunes of the time is to have these martyrs of the disappearance of literature screaming and fatter at the expense of the ignorance of the bureaucrats, from Stop or Mercury to some blog to instruct their workshop owners to put more noise and mouth outside. And that will continue, screaming, getting fat and clownish dictating fees, finding literary creation and taxonomizing only dead objects.
Meanwhile, the real lessons of the crisis of validity of the literature for the times they are still learned and applied, not necessarily in large distribution centers editorial: wait for better times to be read as it should. This I think to Variations on the life of Norman Bates (Valparaiso: Narrative Point Apart, 2010), the second book of narrative C. Faúndez (Valparaiso, 1973) after The silence: manuscripts for tomorrow's suicide (Valparaiso: Ed La Bruja, 2000)-The year 2008 also published a book of poems 34 (Valparaiso: Cataclysm Ed.). In four short nouvelles very different style and perspective, Faúndez displays in his latest book, a mosaic of a powerful narrative originality, focused on a world that has decided to give a closure to all transcendence, but with the footprint of such a traumatic operation, which given the need to escape a stagnant reality, desolate in its deepest sense.
is impossible not to remember Dostoyevskii-and precisely in opposition to that narrative could founded recognized in Lesskov-, when you point this brief description of the world who want to show these variations. Presented here is not that world without God, in which every detail gives the impression of a painful second childhood, double orphan, in that, and lost all innocence, has not seen a be home to live in freedom . The place of elections within Variations is gratuitous space in which the expression itself is a pure burst out of place within a reality that can not be modified or the detail of its darkness. That is why, without descriptions particularly diligent, the visuality of Faúndez narrative is astonishing, as creation of an atmosphere in a few traits, through what is outside the spaces in which the characters move. The primal scene of nearly every story is the view through windows, a sky-repeated characters inhospitable winter-and toward the ubiquitous birds, which have a particular and complex meaning within the narrative world Faúndez.
The appearance of the birds in the Variations is repetitive ad nauseam. Since the bird died of "impossible woman" to the embalming of the latest compositions of the book, you know take the privilege of a complex symbol, which refers to its flying ability, their ability to leave the ground . And although the book begins with the birds seem to mock the first nouvelle Fagestrom is in his death when they reveal their true meaning.
that day, rose Fagestrom decided to water the grave of the bird. Perhaps, he thought, so much water, the bird will be filled with clouds and can fly again, and so the window will be impossible to tell women that he is alive, you can do with it what you come (...) pleases
The bird will not wake up. He is buried as deep as a mirror image. Fagestrom flame. Le consider these things about the bird and the woman said to be tender, but tenderness may leave us vulnerable in this world. He replied that is correct and that the damn truth more dead bird is the shit . The woman can not hang up.
Bird, Fagestrom summary of desire by the "impossible woman" ends unearthed, his body half eaten by worms is fitted with wings and a cardboard appliance to the order of a remote control could fly. But to the unlikelihood of a bird that flew with her eyes closed, the protagonist
remained open (...) eyelids with a matchstick between his dips, but the bird had no eyes. Pearl introduced two fantasy in those holes. The painted blue. A blue-eyed bird should be irresistible to any woman, but do women really prefer the blind.
protagonist's operation immediately sent to the same image of the stories end: to make alive see these birds dead, images of a faint light that tries to recreate the force. Both love to this "impossible woman" as the wishes of children receiving embalming classes Norman Bates, reveal a dark background in operation allegory, in which the portrait of that world is capable of displaying closed its vanishing point, that which allows narratives hold meaning, but represented from its very denial. What better way to express this than by quoting the end of the first section, "Workshop for embalming birds" , the story "Variations on the life of Norman Bates"
I come to accept girls, especially when sunlight falls on their little hands. The girl in question has brought me a flower and asked me if the flowers grow in birds.
- The arrival of spring are reassuring, more birds are in heaven, "he explained.
Then she answers:
- I wish all the birds died, to embalming.
embalming operation passes to function in a free baseless, and in the case of the last texts of the book, the same children of the workshop are representatives of that abyss of meaning, even before we, as readers, access the anguish of Norman Bates.
One of the gates that appear to be vital to understand the predominant emotion in the book is the literary activity. Either way, runs from start to finish the book, always represents a useless exercise, but marked by the same spirit of evasion "The same impossible out that seem to embody the birds. For example, in the instant Fagestrom information without a specific goal, apparently, the "impossible woman" the high price of your water bill, assuming
ends (...) would sell the book collection poetry that her grandmother had given him, for he never read poetry because it scared him. The poetry is lucid, he said, and he was mad.
in which the character seems to establish a transaction impossible to equate these books to the meeting with women, which appears to be absolutely aware of this attempt by filing it the reality principle which you want to escape Fagestrom:
- You're not mad, "replied the woman.
- Loco Fagestrom to have you, "he said.
- So, you're crazy for me, still watering the grave of the bird and hang up.
In addition to the exhaust end idea is the literature in this piece, it is interesting to note, as in the example above, a part of the section "Workshop for embalming birds" (made, strictly speaking, by micro-stories that can not fend for themselves):
The child writer does not like birds much embalming. He likes to write. All he did in the morning, what he did in the evening, and fill and fill pages with his life. I advised him to also write about the lives of others and refused, acknowledging that his life is more interesting than any other. I say that from the outside looks better, but no case: the child thinks that watching out only speculate, but never get to the truth.
as it appears clear that the presence of figures of evasion (the wife of the first novella, birds, literature) is to make sense of the narrative, but from its very apparent absurdity-the act of writing this will make evasion will of truth . The despair lies in the moment that this truth can only present the appearance of life.
These same truths, but taken from a register extremely ironic, are notorious for "The trees burned" and "This happens when three poets decide to build a bomb." In the first novella, the minute you begin to weave the threads of the plot, "the divorced woman" asks "the man", at first the apparent protagonist of the story, who kills his mother.
- How?
- For many poems.
- Will you be able to write thirty poems?
- Of course I can, as long as it disappears of my life.
- Forty would be better.
The crazy story manages to reveal the plot as a part of a series of misleading thread involving the whole story, produced, thanks to the ability of this network and psychological care of drawing the characters, a stunning representation of this world without transcendence may end up destroying itself only. In the same way that poetry is set in a mock brackets, also here the love relationship loses the character of redemption that suggested "Women can not" going to be another useless and almost ridiculous evasion:
The old man says the elderly you're bored of running a motel. The old woman says that running a motel is pure love, they provide a space for people to love, not for getting drunk, or commit acts of violence, nor put a playground for parents to justify their presence with their children. No, they put a motel for people to love, with poems on the walls to be read and weep.
- also lends itself to infidelity "says the old man, and that's not good.
- infidelity in there a little love, "says the old woman, even a little, and a little love in these times is appreciated.
In the last small window that opens "the old woman"-the love as a comfort-end closing with the bleak and violent end of the nouvelle, in which the last sentence seems to echo the desperate nature of the request in the proper sense of this adjective:
Witnesses to the disaster remained embracing, hugging tightly.
For "This happens when three poets ...", Faúndez opt for a plain narrative tone clearly sarcastic. However, the place occupies poetic activity here may account for the same form of this "bracketing" of the loophole.
The world described in "This is ..." is marked by a peaceful appearance, emphasizing the ordinariness of the top three poets who share a house in a "people"-which is not detailed or described, which moves quite the gloomy atmosphere of the rest of the book nouvelles. In fact, the ironic effect underscores a sense of normalcy as to accommodate within it achieves moments in another context would be critical, the possible identification of the poet "three" with Fagestrom, imagine that he killed the other two tragically, if is that means tragically caught between the iron bars of a car after a crash or being crushed by a shovel mechanics in a construction task, etc. .. view of this world, the work of poets as they can only reveal a fundamental difference with respect to the free and fun than in the other nouvelles is established with respect to literature
The laughter in the bar or opinions unconcerned about poetry, which was, in fact, what most concerned about the three poets were only appearances. Everyone would have cut an ear, a foot or arm before filling the blank with a poem unpolished.
From this solid ground, the narrative can be a critical point that significance is unrelated to any outside literature itself. To the exclusion of the poets of the house of programming "book fair"
The poet three said that in that case, the most effective was to throw a bomb at the fair, the same day of submission the mediocre poet. In this idea, the three agreed.
In the brutal disproportion between cause and action shows once again the idea of \u200b\u200bfree acts. The story takes care to present clearly the distinction between the attack and the reading of a virtual art action ( PUMP IS A PUMP / not a poem, he asks them to repeat "the anarchist" to the poets), and conducting same as that achieved exactly dispel any pretense of a chain of causes and consequences. The arrival of the "impossible woman" gives the scene a burden that is carefully delusional back to its center in the last section of the nouvelle, when the two remaining poets
assumed as the new directors of the corporation of writers, beheaded with the explosion of the bomb at the book fair.
When I got home that night, wrote a poem for four hands, dedicated to the sacrifice of the poet three.
The poem read:
love Love is not a bomb
End
The focus of the narrative is, then, is commonplace in the acts are made free. Be seen, then, poets and those who can live in a cold and manage some "state of despair", making daily jumps assume as more extreme toward significance could be found throughout the book: the miracle (as defined) of occurrence of the impossible love while the passage to death, by the poet "three." This, in love with an "impossible woman" - is the only character out of the world marked level of variation, as noted in the opening pages of the novella:
A poet and the poet had written two poems of love, but never felt in love and had never suffered what is meant by suffering of love which is nothing to mourn under the pillow.
The poet three, however, was deeply in love with a woman impossible. (...) With
which seals the fate already outlined for the character was called Fagestrom: how wonderful it could only appear here in the form of an abyss that opens into the disappearance. The final act of "poet three" implies a belief in redemption which abut the love and death.
One of the important features of these variations is precisely the latter, and it becomes obvious to recall the final pages of the Romantic movement (as we were reminded Dostoyevskii) to completion surrealism as paradoxical aesthetic proposal. In fact, convulsive beauty espoused by André Breton in Nadja is a fairly accurate way to define the prose of the book, always ready to escape from the mere referentiality to a perception almost dreamlike. In fact, towards the last nouvelles, sequentiality that could make them part of a prose as such disappears, making the text appear centered in Norman Bates as a poetic narrative that assumes only the vanishing points with respect to possible solutions argument. This makes repeated use of procedures in the prose as such will lead to the accusation of sensationalism, the culmination of simple narrative or poetic images using words-caliber, in this narrative are a fundamental part of a poetic focused on the possibility of moving provocatively reader itself, an effect of seizures led to a stunning climax in the narrative of "real love" with the balmy, perfect opposite of "impossible love." In both cases, the concept of love is something completely different index, which refers to freedom is impossible at the base of Faúndez narrative world.
Violence on the conventional narrative does get into these nouvelles within an area of \u200b\u200bactive awareness about the present condition of devalued experience and point of fainting. The character of Norman Bates represents, as that determines the book from the title, a corrosive force on sociability ending denouncing the text as a fiction-in the world of reality Variations has given rise to grave, and an aggressive final letter to the embalmed Bates is in some ways, an impossible demand in a world that no longer exists. That is why the mood of the book belongs in the absolute sense black humor, another rooting Surrealism consistent with its convulsive beauty - in one of the purest forms that can be found in the present narrative, at least in the environment of the country's independent editions. It is up to
Variations on the life of Norman Bates a presence in the environment of the national narrative, and it is hoped that the work of Narrative Point Apart attain the resonance it deserves-and has been published under the seal also Yuri Niño Feo Perez. The outstanding issue and invoice books, also could open a path of greater demand for independent publication, giving the ability to access markets reading are not bounded to circles of specialists.
