The International Colloquium "Julio Ramón Ribeyro: The word of the dumb" held in Lima on Thursday 3 and Friday 4 December, I explained the issue subject, individuality and poetic narrative Julio Ramón Ribeyro. I reproduce here an excerpt of my speech at the table I shared with Irene Cabrejos and Milagros Carazas.
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"Sensitivity to perceive meanings of things ", the poetics of Ribeyro
Within the conventions of fiction, the author, any author, develops an individual program of writing based on selections and combinations, ie, a poetics. To approach the poetry of Ribeyro take particular vision expressed by the author on several occasions. What Segre defined as screening and distributed procedures provided significant preferential sets itself at the service of modeling the world. [1] of poetry expressed by the real perpetrator aspects are recorded as the act of writing, The Art of Storytelling, the preference for the story and the use of autobiographical fiction. From these aspects reveals a poetic based on the importance of the subjective.
frequent expressions in the stands Auora also the enigmatic nature of the written word and the nature of the motivations for their creation. Around the characters register their intention to "say everything I thought and I could not say. The true word of dumb. Find my speakers but they seem otherwise. Distanced. Put to each one of my hundred masks and let them live in freedom. "(Diary II, p. 182). The theme of 'masks' is suggestive and highlights the fragmentation of experience, the demystification of the artist and the inability to use a unique voice and unappealable. The prismatic nature of representation appears to explain the motivations of writing: "dissatisfaction boredom, desire to give the floor to another or others in ourselves, after all unfold or multiply in the mirror of our imagination. "
Regarding the story, playing in one of Ribeyro his Prose (1975) an entry of his diary I (05/07/1959): "Art of the story: sensitivity to perceive the meanings of things." Formula poetic summary of which follows, also a feature of style narrative statement that the author takes care to explain: In an entry in his diary, commenting on the process of creating his story "Terra incognita", say that " is very delicate, because I want to tell as elusive essence, so that it is necessary to read behind the words. " As you may recall the protagonist of the story is an old teacher who experienced a drive one night and invites a gay black man to his home. Ribeyro noted in his diary: "at the end nothing happens. But often it's what did not happen. is the story of failure. "(Diary III: 44)
essential aspect in this poetry is the repeated application of a sober use of the elements and the questioning of" literary ostentation of many Latin American writers ... his fear that taken as uneducated "(Prose, 147):" Literature is affected. Who has chosen to express half derivative, writing, and not a natural one, the word, must obey the rules. Hence, any attempt to give the impression of not being affected, interior monologue, automatic writing, colloquial language, is ultimately an affectation to the second power ... What must be avoided involvement is not writing but congenital rhetoric is added to the affected. "(Prose 77).
therefore made its proposal about the modern literary beyond the technical deployments: [2] "I do not think that the technique should be abandoned, but should not stand as a major criterion for judging whether a current or past work is fashionable, modern or old-fashioned . Basically the technique is easy ... Nothing ages as fast as the procedures. Some people dress up a vision banal, simplistic and old reality with a modernist technique. As if the currency was a matter of technique ... Modernity is not in the resources that are used for writing, but in how reality is apprehended. "(Diary II: 160). In this poetic vision is manifested irreverent writing which tells essentially as elusive, while masking uses resources and appeal to fragmentation. Therefore affects the story as fragmentary representation of reality and say: "I see and feel the reality in story form and I can only express myself in that way ... Hence, so far can not write novels, poems, or parts dramatic and when I tried I got only distorted stories. "(Diary I: 76). [3] On the other hand, raises the autonomy of art "show, do not teach" with an emphasis on emotional picture presentation. [4]
individual and poetic
Since the program narrative, Julio Ramón Ribeyro exposes a worldview marked by dissatisfaction and total inability to understand phenomena, which compromises a position on the creation and combinatorial operations in an urban model that combines universal and local circumstances, while a measured manner applying new techniques and skillful storytelling.
way these texts reworked the climate of expansion and confrontation; optimism and challenge to news of modernity in a speech from the subjectivity in which there are no heroes but individuals alone and bewildered in constant reformulation of its self-representation. The sharp eyes "of the subject of enunciation, as his creatures marginal irony corrodes the apparent solidity and brightness set the official world." [5]
face unmanageable circumstances with autonomy, there is no other outcome than failure. The individual subject is not resolved in open opposition to the locks. The weak statement of rights and responsibilities and low self-esteem leads to skepticism that record the outcomes of the stories. This repeated explicit signal an ethical stance against the tragedies of everyday life.
When using the information, please cite the source.
[1] Cesare Segre. Principles literary text analysis. Barcelona: Editorial Crítica, 1985, p. 325
[2] is important to remember at that time, in Latin America, significant changes occurred in the art of storytelling.
[3] The boom of the Latin American novel predominant if not the entire vision of the social story itself totalizing notion of genre itself.
[4] Tamayo Vargas feels that "it is well latigueante grafted and social phenomenon and criticism that is clear, in a narrative that is all criticism but works rather by psychological mechanisms direct that the social box. " Tamayo Vargas, A. "Julio Ramón Ribeyro An urban narrator in his stories" In: Report of the XVII Congress International Institute of Iberoamerican Literature . Madrid, 1978, p. 1175
[5] Vidal, Luis Fernando, (1974) "repeated Ribeyro and mirrors." In: Journal of literary criticism American No 1 Lima: Inti Sun, editors, p. 82
PHOTO: Irene Cabrejos, Milagros Carazas and Sonia Luz Carrillo. Literary Studies Center Antonio Cornejo Polar. Miraflores Lima, 12.04.2009
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