Assuming that there is such thing as a literary tradition Uruguayan and that this pipe dream is going through, since the end of the decade just ended, a renewal with respect to the fees set by the last generation "hard"-that of '45-, three major works (at the discretion of the person signing) to understand this new breed of writers. The three books work as triggers that diverge facing three different areas of the renewal literature.
cloth Bear (Trilce, 2008; Municipal Prize winner for Literature 2007) is the debut novel of Horace Cavallo, who boasts a precision of language without contrasted with Onettian a poetic tone, plus an investigation into the architectural dimension of the narrative superimposing three stories: two men vying for the love of a teenager in a remote village in the interior, the first-person account of a sick child and the daily of a writer who writes a novel to present a contest. The narrative structure is compared by Henry Trujillo in the back, with an image as successful as spoileadora: Russian dolls. Persephone (Firth, 2009), Ramiro Sanchiz second novel (first published in Uruguay), illustrating the range of glam rock Montevideo in the voice of a poet, writer and guitarist in his early twenties, and reports inquiry in the field of language, a multireferential (the book draw lines to other works of literature, philosophy, but also cinema, and of course, music) and a research on the characters rather than the events themselves . And finally, Porrovideo , Jorge Alfonso, perhaps the most conservative in the sense of classical structure of the story, but it opens up interesting food for thought about this (skepticism required: if there is such a thing ) new generation of storytellers.
Porrovideo is probably the book that Bukowski had written had he lived in Montevideo of our young century, instead of being based in Los Angeles last half century. Alfonso create (recreate) a city halfway between the dark and seedy streets of Estokolmo (Mondadori, 1998), Gustavo Escanlar and sidewalks tedious and absurd humor to 25 Watts. The tales are narrated Porrovideo with a unique voice, first person (called Alfonso, forcing us to suspect the existence of autobiographical elements) , which connotes an anecdote aesthetic very much in tune with "The handful of stories"-back cover dixit - that counted. The amalgamation of the title, which links the name of our city with faso, makes clear that the substance functions as a common thread between the stories. Joint consumption, perceptions altered by the joint, the joint neighborhood culture, joy crazy joint, the joint sad slump, everything gets in the seventeen stories. At times, the premise seems fetched, as if a story anyone would have added a reference fumeta to fit with the rest (in the case of "love of the poor people poor.") Alfonso season with resources, environment and mood tones with a variety of colorful and the precision of a dealer with balancita. The route passes through the burial of a rat in a neighborhood night, wine and drums, the morning of dirty work in an office full of characters that border on the absurd, fuck and dance night, an odyssey through dark streets to buy market , finding a kitten in the middle of Christmas ... camping stories, afternoons at the beach, the rhythm of Candombe, cumbia, Fito Paez Jaime Roos, tango, and much, much joint.
Alfonso The finding not have written great plots or characters too deep. Is building a look roundly pessimistic, ironic, nostalgic, bitter, yet small rescues redemptions in the event of two or more lost souls ("Friends. No more. The rest is forest," says Jorge Guillén from one of the entries .) This vision does not remain in the internal monologue, but that is reflected in the dialogue and actions that may Alfonso, fully integrated into the narratives. The use of language is at times raw, stripped always, very street poetry and humor that has something of Dolina and more school (Rock &) pop in Argentina that includes guys like Casciari and De la Puente (actually, several Porrovideo stories were published in the journal THC, and it would surprise became a cult book on land Argento).
Alfonso narrative maturity unusual case of a first book, and reports, as well as his second book, full of thorns Tales (Trilce, 2009) - a talent craftsmanship to produce stories round, circular structures ("Climbing to the sky" and "A simple question" are examples of using an elliptical leit-motiv ; while the story that closes the book, "The final candombe" refers to open it, reinforcing circularity in the book intratextual level), but above all, and ultimately, the important thing, "stories that come, that thrill, that produce and reproduce. After more than two years and dissipated the smoke from the minimal media controversy generated about the slight tendency apologist of the book is a work whiff to classical, spoken by a narrator paradoxically cool, with red eyes wide open.
Porrovideo, Jorge Alfonso.
148 pp.
Editor Estuary, Issue 1, 2008.
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