GAMBOA
Saturday, February 26, 2011
Teal Shag Bands Meanings
Background.
In one of his articles entitled "The protest of power," the Uruguayan critic Angel Rama said that after 1964 the Latin American narrative appears in a different attitude of young writers trying to get closer to the reality that surrounded and disassociating from the abrasive expression milestones called Latin American boom. For these new writers is a source of creation "peer group social life, both in the Upper Room as the neighborhood, the yard of the School or the local coffee shop, or stalking the suburbs of the minority ghetto ethnic marginal areas around power whose worldview, language and forms of behavior have been handled easily, without needing to explain or defend them, making them protagonists of the literature "(489).
The writer expresses in his work, more personal experiences that bookish and without subjecting the exercise of mere exposure autobiographical, explores items of everyday life. Are introduced, then a new discourse in literary works, film and popular music, especially rock, "the mass media, youth conflict. Also the narrative strategies and language change: the first person flying as a synonym of everyday realism, and not socialist, nor critical, and pedagogical - and splashes of colloquial prose of different order. Under this renewal displayed Andres Caicedo and Umberto Valverde in Colombia, as well as work as a Tango Air Manuel Mejía Vallejo.
This established a counter-narrative to the literary trend of the country you learned in prose from Jorge Isaacs to the same germ Espinosa, through Eduardo Zalamea and writers of literature of violence. It is a trend that was broken, somehow, Thomas Carrasquilla, with the inclusion own idiom paisa culture, although Valverde Caicedo and can not remember the idiom of peasant life but the individual city.
These writers of the contemporary city, youth and new discourses of urban marginality, are likely to be very local, to talk about the neighborhood and get caught up in the streets, referring to the land Pance river, be it general or the city of Cali, and never leave him. The controversy surrounding them has focused in particular on their possible provincialism.
About the literary quality of Andres Caicedo even perceive the field reservations national criticism, despite the scholarly works and books dedicated to the life and work of Cali. Umberto Valverde (with pump Camará) and Manuel Giraldo ( Concert confusion) , followers of this irreverent attitude are unexplored today. However, these last three are the mainstays in Colombia of a narrative that Rama called as online argumentative and I place the book of light music stories Octavio Escobar Giraldo.
Test the same way: the risk.
Gaviria Cano: "One of the most sensitive has to face an author who chooses the themes recur in apocalyptic or subcultural after Caicedo, is to acquire a broader perspective, to save him from parochialism in which, having traced only flight, returned to rush the author of Long live the music "(396). I will not dwell on the harsh scrutiny of the narrative of Andres Caicedo and I have resumed the meeting to express my agreement about the challenge of those who continue in the task of writing about urban culture, from their own language.
A first weight falls on their shoulders: the narrators urban cultures today are no longer protest. This disqualification deprives originality dye may have their ancestors and invites them to seek other outputs, for a contemporary reader more or less aware not support faded copies. It is almost a truism that bad sequels are stressful and sad.
A second challenge facing: being rebellious of those who before were considered rebellious. Escape the influence of Valverde Caicedo and despite that, somehow, become the same subject-the everyday life of the individual city, popular music, movies, drugs, drink, irreverent attitude, " with the same languages. Anybody can get rid of the influences and preserve the essence of the spirit of "subcultures"?
In light music Octavio Escobar Giraldo is an attempt to recover and break at the same time with the tradition of protest. The book is composed of nine stories, whose titles are turning to music-rock, but also romantic and even officially, television and film. Nothing new for now but in almost all of them expressed the intention to achieve unity of purpose to which he referred to Edgar Allan Poe. This unity implies that the writer foresees the way your text will disturb the reader's mind.
absolutize I would not read these stories, but in "light music", the narrative gives the book its title-experience the loneliness of a married man in an era of fleeting love in "Nino Bravo art in heaven ", a kind of sorry for the loss of a lover, while" The year that Gun's and Roses dominated the lists "there is much unease. I'll stop there so as not to exhaust my list.
The unity of effect appears to be what some tales disclaims light music of his predecessors is, Caicedo and Valverde, although this hypothesis may have also read questions Aren'ta effect unit in "Motherhood" or mini-fictions "Cool Man" mournful thought "and" man and the movies. "
shall assume that in this lies the difference Giraldo Escobar's book because the rest is known: linguistic turns very Creole (Madraza, aliases), figures on national television, as I doubt very much Pacheco they know in another country, films from different eras, stories in first person, the customs of the cities, the Colombian vice. Prose is entertaining if a little trite ritual subject to contestation. Moreover, when the book is to experiment with other languages \u200b\u200bas "the truth is never sad", voltage drops and it becomes a little boring.
The book light music is a gamble since it may fall into the cliches of the past and calls the discourses of popular culture from language as casual as suggested Andres Caicedo. Perhaps this book rehearses the same route of others in the past.
References.
Rama, Angel. "The protest of power" in Panoramas: the novel in Latin America . Bogotá: Procultura, 1982.
Cano Gaviria, Ricardo. "The Colombian novel after García Márquez" In AAVV Colombian Literature Manual. Bogotá: Editorial Planeta, 1988, Volume II.
Leonardo Monroy Zuluaga
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