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daily and intimate to autobiographical reflections "Fragments of memories that never write"

From the diaries and autobiographical reflections intimate to

"Fragments of memories that never write "

For Galia

Villalba Ospina

Life is a story we tell ourselves to unravel the tangled jungle of today. In fact, all memory is a fiction. We can not access the past in its pure state, believe in him as a fixed and unchanging over time. The ego of the mind that watches his past belongs to the laws of change, his gaze never be the same when looking back. The memory images are mobile, they are transformed by the moment they are addressed.

Ribeyro is impossible to separate the living from writing Ribeyro. The first section is the luggage of his reminiscences of his travels, his lost illusions. The second transforms the reminiscences of life in art metaphors. Each story comes from the fragments of memory to register for the rich symbolism of the graphic symbols

Experience is the raw material of all creation, which elaborates the elements of the lived reality. One can only imagine from what one is, what one has experienced, in fact or in aspiration. The autobiography shows that privileged content with a little alteration, more precisely, create, usually, restore it as it was, but to narrate, man adds something to himself. So the creation of a literary world begins in the author's confession: the story that makes his life and is the first work of art, the first decoding of a statement which, at a higher level of dissection and reconstitution, flourish in novels, tragedies or poem. 1

From Berlin, Ribeyro wrote the story rooftop For (1958), moving to the distant days of his childhood in Miraflores. The writer is attracted to what is distant in time, because only through the remote unit can give your adventure.

For rooftop: repressive code as opposed to air

I realized-Luder says that our life is just spinning and turns around a few objects.

Julio Ramón Ribeyro

Child messy. Each stone that is, each start and each butterfly flower are already captured for him the beginning of a collection, and whatever one has is a unique collection. It This passion reveals its true face, that stern look that India is still burning in the antique dealers, researchers and bibliophiles, but with a murky glow maniac. No sooner has entered the life, and a hunter. Hunts for the spirits whose track sniffs at things, among spirits and things you are years in which their visual field is free of human beings. As happens in dreams: not aware of anything lasting, everything happens, he says, comes over, he was surprised. His years of nomadism are hours in the jungle of sleep. From there drag the prey to his house to clean, preserve, disenchanted. Your drawers should be arsenal, zoo, museum and crypt crime. "Place order" would mean destroying a building full of prickly chestnuts are flails, tin paper are treasures of silver and wooden blocks that are coffins, which are trees cactus totem and cents are copper shields. Some time ago the child support order the linen closet of the mother and father's library, but in his own hunting ground is still unstable and warlike host.

Walter Benjamin

almost hidden spaces exist in the eyes of the crowd through the streets. If anyone dared to look up, acknowledge that some surface torn land that rise as "a secret island on the roofs." In the story On the rooftop Ramón Ribeyro July, a ten year old boy walks amid omnipotent objects thrown into oblivion after they have undergone the rigors of the functionality in the "lower world." ² The latter is distinguished by being the home of custom, time schedules enslaved, objects that are frozen to be traversed by a flat look tidy. It's a family atmosphere rigid, hard as a stone there objects lose their voices and dipped in a dreadful silence where all is "obedience, white tablecloths tellers and ruthless aunts curtains " ³ wonderful cutting away abruptly from the wild. All that is no longer useful or has entered the stage of aging and disaster is thrown to the inclement weather, the summer becomes corrosive inclement ceilings. In the rooftop objects have changed as time changes us. The "kingdom of objects destroyed" ⁴ is comparable to those lost at sea, ashore in broken, fractured, absent future. However, if a child is in the sand, come to life again through his eyes. Be released from the spell that gave them an unambiguous meaning, can assume many faces through the transforming power of imagination. On the roofs destroyed objects are treasures, rare items that can be mixed together, plotting an infinite network of gaming possibilities. The child "could paint a mustache on a portrait of his grandfather, old boots fit the paternal or the javelin wielding a broom that lost its straw [...]. Could build and destroy and the same freedom that breathed life into the rubber balls busted, presided over the execution capital of the mannequins. " ⁵ He releases the objects of the heavy burden placed on them by releasing the past and the perception of the crust of habit keeps the sense of wonder. In the "lower world" life of objects has the duration of their usefulness when they no longer serve are expatriates, launched a "no place" in which oblivion makes them invisible. Unlike the adult world which dictates the death of exiled objects arid islands and hidden, the child is irresistibly attracted to this kingdom of waste that their gaze will give life and meaning driven by outbursts of fantasy and desire. "As if it were a secret correlation, as only the hopeless given hope, also the nonsense adult child a sense comes as surprising as free." ⁶ Thoreau knew the secret of wisdom lay in his relationship with his objects look. "Virtue is simply much to see! ... Much as we see. "" Every child ", he observes," begins the world again. " 7

For a child entering the roof is through secret galleries and crossroads. Its navigation is empirical, sensitive touch. In his journeys there a beginning and an end, because everything happens in the middle, as the growth of grass. No roots or arborescence. No goals. There is only way to be created as it goes. Deleuze gave the name of smooth space this journey in which the lines that are not subordinate to a shift that is made from a point A to point B. The archetypes of flat space are open spaces like the desert or the sea. Roof for the child's face can get a secret island or a jungle adventure and not without dangers. His obsession is to turn your body into a network to conquer the spaces glimpsed:

My kingdom, initially, was limited to the roof of my house, but gradually, thanks to courageous conquests, was extending its borders the surrounding rooftops. Of these long campaigns, which were not without danger -He had to save riders jump fences or abysmal-enriched always returning an object that was added to my treasure or a scratch it increased my heroism. The sporadic presence of a maid who tended a clothing or workers repairing a chimney, do not cause any concern me because I was settled in a sovereign land in which they were only nomadic or nomadic populations. 8

childhood games involving a body that moves freely in space. In the "lower world" the body is trained in the strict division of compartments separated: in a box are on vacation, the other the duty, in the next school. This neat freak body will aim to keep the "I" within their boundaries, thus ensuring the permanence of personal identity. In the low "everything seems to be measured and predicted, the beginning and the end of a segment, the transition from one segment to another." 9 striated space to the lines of the paths that are subordinate to the points. In this area dominated by reason and empirical sailor has been expelled from their domains. The home and school are located on this level as repressive places where adventure is threatened with a succession painful duties, prohibitions and penalties. Against this background, the roof is a free language, imagery, a new personal constellation where life is expressed through the disorder, disorientation and marginalization. Deleuze called

In one of his explorations into the world of high, children can spot a man who as the objects of the roof belongs to the outskirts of the city, excluding those spaces and memory affections. Like all dishes, reduced fragmentation and forgetfulness, cracked by weather, besieged by the softness and the rejection of the "world of the low." At the top is lonely and Summer continues to scorch the roof giving the dimensions of a bleak desert. The excessive heat will be a recurring element in the story. The sun shoots several symbolic meanings that may be revealing the hidden meaning of the narrative. One of them has to do with the destruction and drought that oppose the fertilizing rain. "So, in China the surplus had to be shot suns with arrows." 10 11 Man from rooftops on your skin will feel the heat of the sun authoritarian who never tires to last. His body lying on the lazy has been marked by the passage of time, in your face "showed an unkempt beard, grown almost distraction, like the beard of the castaways. " 12 curious child's eyes do not stop and begins to read the signs of man in the pages of an intriguing new book. At first, it looks like a wild invader of their dominions, but the obsession of this man is not the space, but the time that no longer gets tired of the long summer delaying the advent of the rains. In the background is the burning desire of otherness, of feeling in your body and not the destructive fire, but the cool water on their way to drag the heavy burden of the hours. Between the child and the man will be introduced in creating a language they both complicity in the marginal. "... So is played as a child, alone. So sunbathing in old age alone. Between the two ages, the interregnum town for love or friendship, the only warm, bearable, between two extremes of neglect. " ¹³ The lazy man is very close to children. Apart from obedience, the order that reigns in the shallows. The roof belongs to the symbolism of the top. Palomar, tower, tree against the sky, are familiar words to your space. The symbolism of a house is in close relation to the human body configuration. "The exterior of the house is the mask or the appearance of man, the ceiling is the head and the spirit, the conscious control; the lower levels indicate the level of the unconscious and the instincts. " ¹⁴ In Tibetan texts "out of the individual condition of the cosmos" is expressed through formulas "such as breaking the palace roof or roof of the house. The opening at the top of the skull through which this departure made (Brahmarandhra) is, moreover, the Tibetans call the smoke hole. " ¹⁵ on roofs, the child will be initiated into a "new earth" where the words come from the lips of the sick are other dishes: their condition is fragile, breakage, spoilage. Have become a language that touches the edges of the uncertainty and rootlessness. It is a language of lines defined by a beginning and an end. They are pieces of wreckage, "fragments of his own interior darkness" ¹⁶ also ravaged by the destructive time. In this sense, can be compared to the paradoxes and puzzles that inhabit the Sayings of Luder. The short stories that tells the man the child resemble statues were mutilated in a shipwreck being reduced to fragments in which it is not possible to read the whole as a perfect unity and harmony. As the child builds a new syntax from ruins and pieces of objects that are now remembering something once was and is no longer the man of the roof has touched the depths of a new language that he himself is a foreigner, an immigrant, a gypsy and a nomad. Talking or writing is an activity equivalent to the game, putting words together to each other as the child who makes a secret correspondence between dissimilar objects. In this sense, the lucky man is the man-child, for he still thought his senses and have not lost their original freshness. As a child, the man of the roof will be attracted by the minute, "by the sight of her long hands transparent or keep up with the sailing clouds." 17 time has slowed, heat wave, like the look of the man arrested in the details of things. On his birthday he asked the child: "You know what is to be thirty-three years? Hear things the name of the countries the map. And all for something infinitely small, so small that the nail of my little finger would be a world at his side. But what a writer did not say the smallest things are the ones that haunt us, for example, the buttons of his shirt? ". ¹⁸ In the low, the practice of contemplation will be classified as truancy, loss and disorientation. When the child receives a book of man from the rooftop, throw your mother with prejudice to the wastebasket as if he printed the spread of disease and disorder. The father will say, "That man is marked. I forbid you to come see him. Never again will climb to the roof. " 19 mother's gaze becomes a disciplinary mechanism delniño controlling movements in space to prevent its loss in the periphery, the kingdom without reference or anchor points. If objects have places that are exiles when their bodies are no longer complete and add nothing to the order of the practical and functional, men have them. If any part of the body of man is sick, if the head is not working or language begins to play the outskirts of insanity, then it uses "roofs": prisons, asylums, hospitals, whose primary function is to disappear to the men, mute, make them invisible. That is the order of society, the way things work ... Small pieces of wreckage which man shares with the child reveal the dangers that beset the man when he decides to reject all forms of mass and uniformity in the name of its uniqueness. The difference is isolated in asylums, are held in hospitals, prisons monitoring circuits. The first story of man from the roof appears to trigger the second, trying to tell us we have to follow rules The order of the city to impose, if we want to be exiled from it, and therefore almost always have to turn away from our first instincts and desires and put on a mask and pretend (story of the man who really wanted to imitate the canary not the ostrich). "... The individual control instances of dual-mode function: that of binary division and marking (crazy, not crazy, dangerous, harmless, normal-abnormal) and that of coercive assignment of differential distribution (who is, where it should be, why characterize it, how to recognize, how to exercise over him, individually, constant vigilance, etc.). " ²⁰ The city \u200b\u200bis crossed by a network that multiplies prison diverse elements: psychiatric asylums, prisons, institutions, schools, where discipline is exercised as a kind of power. What haunts this system is the deviation, anomaly, nomadism. They continue the old methods of exclusion that are practiced in the late eighteenth century when he declared the plague Moreover, in astrology, the sun is the symbol of the principle of authority, whose original emblem is the father figure, which relates to "the functions of training, education, awareness, discipline and morale." Their meanings are also extended "to I super negative, which crushes the self with prohibitions, principles, rules or harm. "

This enclosed space, cut, guarded, at all points, in which individuals are embedded in a fixed place, in which the slightest movements are controlled, in which all events are recorded in which an uninterrupted work of writing links the center and periphery, in which power is exercised in full, according to a continuous hierarchical figure, in which each individual is constantly located, examined and distributed among the living, the sick and the dead-all this constitutes a compact model of the disciplinary mechanism. A fever responds order, whose function is to unravel all the confusion: the disease that is transmitted when bodies are mixed, the evil that is multiplied when fear and death injunctions deleted. 21

"The names change, but institutions are perpetuated." ^{22 corresponds to the house} order, Septation, verticality. In the roofs are haunted by the disorder, blends, its horizontal. The house is a disciplinary device that seeks to maintain the isolation between the center and periphery. When the holidays end and the child returns to the world of low order excessive buries objects rumor of life. He says the child :

My mom started monitoring the stairs to the roof. Scared I was walking through the halls of my house, bedroom atrocious, I dropped into the chairs, looked to exhaustion the wallpaper in the dining room-an apple, a banana, repeated ad infinitum, or leafing through albums full of dead relatives . But my ear was only aware of the rumors from the ceiling, where the last golden days I waited. And my friend at them, alone among the dishes. 23

At this point, the story creates networks communicating with the life of Julio Ramón Ribeyro. As the child of On the rooftop, the writer also toured endlessly with his eyes those objects marked by immobility and repetition. One can imagine the family atmosphere of his home in Miraflores, "... quiet and decent door, white curtains, high ceilings and maybe some window teatina, living room with family portraits, dining room with a" Last Supper "in metal and always a fruit ware, deep beds and a little rickety, patio with lots of gadgets that decorum requires hiding, a persistent smell of damp, clay floor roof to fly kites, have at carnivals or playing sick grandfather. " 24 always identical in those walks home from Lima, Ribeyro was stung by a burning thirst for otherness. In the tight walls of their home language was in danger of silence:

If left for Europe was perhaps to avoid those wandering lonely in my empty house, those mornings huge rolling from one room to another, playing furniture , looking at the pictures and chandeliers. Now, as for years, I'm back among my things, recognize them, but I try in vain to find a clue. The paternal great wardrobe with three bodies kept the same albums, retains its smell dead moth. Its mirror me back my face it has been preserved do not know how, after many ups and downs. The tedium diffuse these mornings, the taste of cigarette ... everything remains the same. Also my desire to depart without a struggle, defeated. 25

Ribeyro The language has been forged with infinite patience born on roofs, in that open space free, where the words are interchangeable as the object of a game. While his son Julio is the sense of the world in the twenty albums The Adventures of Tintin, Ribeyro fractures penetrate a former paradise now full of questions and gaps. "Writing is an inventory of enigmas" a sustained investigation that never lead to certainty and even less to the notion of absolute.

The first crack in the universe child colored rooftop For brevity happen in an instant, when the mother violate the prohibition is directed to roofs. The rain fall has arrived and the light that once was like "eye of Hell" is now twilight, "cool breeze", "heated air." In your imagination visualize the "lazy man," "jubilant, with open hands to receive the water falling from the sky that would wash your skin, your heart." ^{26 27} find that the atmosphere of their games has been overshadowed, in the dark objects show an awful face: "... the forgotten clothes swaying" and "against the streetlights seemed Dummies bodies mutilated." The frightened boy runs his domain, and the emergence of a fact the world of his childhood crumble: When the child returns to visit the space of their "ship loaded with riches"

only saw a ring of land moistened. The chair, unarmed, rested against a rusty bed frame cot. I walked a while in this redoubt cold, trying to find a track, a sign of his old palpitation. Near the couch was an earthenware spittoon. In the long lamp, however, light up, the sound of life. Leaning out their windows I saw the inside of the house of my friend, a row of tiles where men dressed in black circulated thoughtful.

Then I realized that the rain had come too late. 28

Al lazy man that sentence could be attributed to Proust: "... the men we get what we expected from life, just too late." How to return to the place of children when they first enter time of death? The end of summer refers to the end of childhood. "Let the children is just replace the objects by their signs." ²⁹ The world becomes a reference open in memory. It creates distance versus time formerly unit space. In the adult world, the roof will be trimmed in the huge storage memory where the past has been reduced to their names. Ribeyro know that writing is a way to give permanency to these points of light that fleeing at high speeds, leaving the sound of the roofs installed in the body as a perpetual thirst for otherness. As an adult, seeking spaces equivalent to the rooftop, Santa Cruz park of his childhood. In the language will feel like a nomad moving between fragments, memories and memoirs. Life is also responsible to show their heinous and miserable these soulless spaces built to enslave men in alienating and mechanical work. However, amid the most unfavorable circumstances, "the ear of Ribeyro is always attentive to rumors of the roof":

is necessary to provide every child a home. A place that, even lost, it can later serve as a refuge and go to the bedroom looking for his imagination, his games, his ghosts. A house: I know that is left is destroyed, lost, sold, abandoned. But the child have to give it because she will not forget anything, nothing will be wasted, his memory will retain the color of its walls, the air in their windows, ceiling stains and even "the figure hidden in the veins of the marble fireplace." Everything for him is hoarding.

later does not matter. One is usually transient and the house becomes inn. But for the child's home is his world, the world. Foreign children, homeless. On the way home, walking, passenger, passenger, that will not leave any more than fleeting images of furniture and walls ignoble foolish. Where will his childhood in the midst of so much work and both lost? The house, however, the real, is the place where one goes and becomes, in the context of temptation, of dreams, fantasy, predation, Find and glare. What we are there, in its configuration and its objects. Nothing in the world open and runner may replace the closed space of our childhood, where something happened that made us different and that still remains and we can take away when we remember that place in our house. 30

Notes

1. Georges Gusdorf. "Conditions and Limits of Autobiography." In: Anthropos Supplements, No. 29, p. 16.
2. Ribeyro, 1994. "On the roof." In: Complete Tales (1952-1994), p. 163.
3. Ribeyro, 1994. Ibid.
4. Ribeyro, 1994. Ibid., P. 162.
5. Ribeyro, 1994. Ibid.
6. Manuel E. Vásquez, 1996. City memory. Children of Walter Benjamin, p. 102.
7. Cit. Abrams, 1992. Op. cit., P. 423.
8. Ribeyro, 1994. "On the roof." In: Op. cit., P. 162.
9. Gilles Deleuze and Felix Guattari, 1988. Thousand Plateaus, p. 200.
10. Gheerbrant Jean Chevalier and Alain, 1991. Dictionary of Symbols, p. 949.
    In this sense, can be compared with the last phrase uttered by the man For rooftop: - "The sun, the sun! "He repeated. Will he or will I spend. If we could knock it down with a cork gun "(p. 166). (N. of the author.)
Chevalier and Gheerbrant
11. , 1991. Op. cit., P. 953.
12. Ribeyro, 1994. "On the roof." In: Op. cit., P. 163.
13. Ribeyro, 1975. Prose stateless (complete), p. 43.
14. Gheerbrant Chevalier, 1991, op cit ., P. 259.
15. Gheerbrant Chevalier, 1991, op cit ., P. 258.
16. Ribeyro, 1992. Sayings Luder, p. 11.
17. Ribeyro, 1994. For rooftop. In: Op. cit., P. 163.
18. Ribeyro, 1994. For rooftop. In: Op. cit., P. 166.
19. Ribeyro, 1994. Ibid, p. 167.
20. Michel Foucault, 1983. Discipline and Punish, p. 201.
21. Foucault, 1983. Ibid.
22. Ribeyro, 1975. Prose stateless (complete), p. 28.
23. Ribeyro, 1994. For rooftop. In: Op. cit., P. 167.
24. Oviedo, 1982. "Ribeyro or skepticism as one of the fine arts." In: Op. cit., p. 346.
25. Ribeyro, 1993a. Op. cit., P. 210.
26. Ribeyro, 1994. On the rooftop. In: Op cit., P. 168.
27. Ribeyro, 1994. Ibid., P. 167.
28. Ribeyro, 1994. Ibid., P. 168.
    I found the same break between the end of a stage of life and the beginning of another full of doubt and anxiety in the final lines of The featherless buzzards and a diary page:
    "... It realized that the hour was over and that celestial city, awake and alive, its huge open before them jaw. "
    In page of a newspaper, read: "Then I realized for the first time that my father had not died, something his left alive in that room, bathing the walls, books, curtains, and that I was like possessed of that spirit, now transformed into a big person. But I am my father, I thought. And I had the feeling that had existed for many years. " (N. of the author).
29. Ribeyro, 1975. Prose stateless (complete), p. 65.
30. Ribeyro, 1975. Prose stateless (complete), pp. 48-49. Galia

Villalba Ospina: essayist, poet and literary critic Colombia (Bogotá, 1973). Magistra in education. Professional literary studies Pontificia Universidad Javeriana. Trainer in the area of \u200b\u200bliterary workshops of the Faculty of Humanities University of Bogotá Jorge Tadeo Lozano. He has published Julio Ramón Ribeyro: an illusion tempted by the failure among others.

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A TOD @ S THE YOUNG AND THE GUARDIANS OF THE REGION AND WANT THEM A FULL RECOGNITION BY ALL THESE LEARNED DURING 7 MONTHS TO SHARE EXPERIENCES AND GOOD TIMES, I WANT TO THANK YOU FOR FORMING THE TEAM THAT WE . THANKS FOR SHARING AND PROVIDE ALL ALL MY SUPPORT AND FRIENDSHIP FOR YOU SURELY WE EXPECT FROM OUR DIFFERENT TRENCHES. A HUG A

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"JULIO RAMON RIBEYRO: PENULTIMATE FEATURE" THE POETIC NARRATIVE

Nestor Tenorio Coaguila Requejo and Jorge Julio Ramón Ribeyro have posted: Penultimate dossier. A set of 41 texts relating to the life and work of the narrator. Julio Ramón
Ribeyro will always read and beset by criticism due to interest generated by their stories regarding the harsh reality of Peru. That is one reason for Nestor Tenorio Jorge Requejo and Coaguila been given the job of doing an anthology about texts referred to the author of vultures without feathers. The book Julio Ramón Ribeyro: Penultimate dossier, is divided into around ribeyriana identity, Boxes ribeyriana ink and photo album. Roberto Reyes

Tarazona says: "The authorship of these two scholars of literature has been prolific in a book which allows a rich reading of the life and work of Ribeyro, a classic of our literature that meets in December this year (2009) died fifteen years. The success of the book is casual, as both have published on Ribeyro. "
But given the wealth of reading material in the book and after reading it all, any reader asks: So what is the best essay, what the most successful critical that the best interviews and most important witness? The texts of Carlos Eduardo Zavaleta, Washington Delgado, Alonso Cueto, Nestor Tenorio Requejo, Jorge Valenzuela, Jorge Bruce, Cesar Ferreyra, Ricardo Gonzales Vigil Thomas Escajadillo, Edgar O'Hara, Jose Rosas Ribeyro, Jessica Rodríguez López, Ricardo Silva Santisteban, Antonio Gálvez Montes, Edgar Montiel, Eva Valero, Elio Velez Marquina, Sergio R. Franco, Marcel Velázquez Castro, Manuel Acosta Ojeda, Harry Belevan, Jorge Coaguila. Deserves comment

interview with Mario Vargas Llosa, signed by Angel Esteban and Ana Gallego (In Identities, newspaper El Peruano, Lima, 23 September 2002). This is an insightful and timely text, very well designed Julio Ramón Ribeyro personality, his bohemian, their fears, their particular political vision and economic convenience. But above all how he could live in Paris under the big bureaucracy, always indifferent to the great social problems that afflict Latin America, particularly Peru. (First )

Source: Journal discursive.

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TO ALL BENEFICIARIES AND GUARDIANS OF YOUNG IJDF were informed that the next installment CREDENTIALS IS TUESDAY, JANUARY 5 , 2010, at 9:30 am. FROM THE "MONUMENT TO CHILDREN HEROES" ENTRY OF THE LIONS IN THE FOREST CHAPULTEPEC.