By Linda Craig
Onetti, Puig and Valenzuela haven't had a similar point of foreign acclaim as Borges, Garc?a M??rquez or Vargas Llosa, yet they're both intellectually difficult, and their paintings provides a lot to the breadth and intensity of twentieth-century Latin American literature. This booklet starts off with Onetti's first novella, the elaborate, fragmented El pozo, and finishes with Valenzuela's Cola de lagartija, a wierd, quasi-baroque paintings of darkish humour and strong political overtones. It has separate sections on all the 3 writers, which stability shut readings of chosen passages with tightly woven theoretical research. the truth that this set of texts is from a selected time and position, the Cono Sur from 1939 to 1983, offers the paintings highbrow coherence; and it truly is methodologically constant in its use of a collection of co-ordinates from, among different assets, psychoanalytic and feminist thought, from Lacan, Irigaray and Kristeva, that are built-in into the imaginative and prescient of the novels as they're analysed. Onetti, Puig and Valenzuela are seldom seen jointly, yet Craig argues that their universal geography and historical past are an important, and that those specific writers percentage and discover of their paintings a post-colonial vacancy, a relentless wondering of realism and a love of tango.
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Extra info for Juan Carlos Onetti, Manuel Puig and Luisa Valenzuela: Marginality and Gender (Monografias A)
He then explains further: Son de mi escuela, se hicieron conmigo. Pero no quieren complicaciones, cambiaron, van a tolerar cualquier cosa si el asunto no es con ellos. Si no es personal quiero decir (1983: 87) [They’re my kind, they grew up with me. But they don’t want trouble, they changed; they’ll put up with anything as long as it doesn’t interfere with them. As long as it isn’t personal, I mean] (1991: 108). This attitude situates Marcos firmly in the camp of the other marginalised protagonists sketched above.
Qxd 9/22/05 8:59 AM Page 41 JUAN CARLOS ONETTI 41 The female protagonists who remain within the limits of Santa María, like their fellow men, are beings who constantly strive to uphold the rule of the Symbolic Order. Their status within this order is, however, much less secure than is that of the men. It is a construct of patriarchy, and therefore their position is rather more complex. The only one of these women to be developed individually is Jorge Malabia’s mother, who, although she plays but a very minor role, is described by her son in an interesting way: ‘Sabe, desde hace mucho tiempo, que es esposa y madre; yo siempre la he conocido con la cara correspondiente, la mirada dulce e impersonal, la boca bondadosa y amargada, variando las proporciones según los días’ (1983: 171) [‘For a long, long time she has known that she’s a wife and mother; I’ve always known her with either one face or the other: the sweet, impersonal eyes, the kindly and embittered mouth, the varying proportions according to the day’] (1991: 220).
Es una posición de artista’. Esta es una actitud artistica, anticientífica. En cambio Lanza define su actitud frente al falansterio, diciendo: ‘Yo soy un pobre viejo que busca la verdad’, hermosa frase de otro testigo implicado, como Díaz Grey, otro lúcido alter ego de Onetti. [Lanza counterposes his reasoning with what prince Orloff or Marcos could say about the phalanstery, as though they set out from two different positions. Orloff, in his version, ‘is searching for beauty, the literary vignette, what would now be called escapism, invention.