The other jungle (1991) was the first novel I read by Boris Salazar and I must say that I quickly. Although such a reading was prompted by an investigation in which I had shipped almost by obligation, the requirement did not have a bitter taste because the play was entertaining, not so much in terms of a scandalous story linking a string of tradable shares but because language was carefully and maintained a dynamic narrative techniques attractive. This novel is about Joseph Eustasio Rivera, her life in New York but especially his death, and reworks, imagination, Rivera's delusions about writing a book that somehow continued to give The Vortex. Fortunately for me, I compare the vision The other jungle with a critical text of the late Professor Eduardo Jaramillo Zuluaga, who, with fine manners, precision and detail "Under his writings hit the nail on the head about the exaggerated use of anaphora in the novel by Salazar. The strength of their arguments pierced my enthusiasm a bit and thanked the teacher implicitly Jaramillo to spare me a kind of mystification of Boris Salazar. The other jungle however, I still do.
Chance led me later to time shadows (1996) another novel by the writer mentioned. From his reading was a bit embarrassed because it looked a reiteration of the techniques and language used in The other jungle Chinese boxes, self-consciousness writing multiple voices that make up the narrative, various targeted. The only thing that seemed to change, with respect to its predecessor, was the plot: the story of a prostitute silent witness to a murder in America. I reached the final with a sense of reading the second part of a book published in two installments, comprising at least two arguments and a writer whose protagonists were recognized in Colombia (José Eustasio Rivera) and a Korean prostitute lost in Jackson Heights.
was a little disappointed, though time shadows-but I still like when I tried of going into Gentlemen Prefer dead (2008) (notice that it has nothing to do with a series of recent Colombian television programming) my impulse was not enough to crown the final. In the 20 or 30 pages that resisted stoically could not find in this novel, something I anchored to a story or a character. Everything seemed too diffuse, disjointed, very tight.
can be a bit trivial negatively judge a work of fiction by the desire to obscure all (we should burn the volumes of Joyce, Woolf, Faulkner) but I sense that Gentlemen Prefer dead end leads to this desire, and attention that has the reader never gets connected. The interpretation of other restless can shed light on my stupidity or my success in the vision of this novel by Boris Salazar.
With these prejudices came to Caravan (1992), author's story book I read recently. On its publication the text is located between The other jungle and time shadows. The book consists of eight stories with different stories: a woman who from an early age must fulfill the dream of being queen mother, a rich man traveling to a foreign delegation for several U.S. locations looking to run away from a premonition, the fat boy, a friend of the comics, that gets involved in criminal enterprises and settled in the United States, the disappointment of a couple who lived a countercultural wave furiously decades of 60 and 70, the return to a Latin American barrio rundown idol, the amazing story of a woman who invents a story and fell, almost without thinking, into a trap.
Have I forgotten anything? Yes, I have deliberately muted the specification of the last two stories. The reason: I have not understood. The last two stories have the same opacity that affects me in reading Gentlemen Prefer dead which makes me think two things: first, for me Caravan is actually two books: to go from " Mom's dream "to the story entitled" On Monday we told stories, full of tension, conflict patterns and really striking, and the part after the last two stories, intractable, most anesthetics. Second, apparently Boris Salazar long has sought its own path in writing, which ranges from extreme experimentation with stories and a lot more use moderate of the experiment.
But besides this book returns to a constant Salazar texts: the location of the stories in the United States. As in other forest The and time shadows this location is not denatured and instead draws on some imagined living the life of those who leave to find best destination in the north country. In Caravan addition, there is variation: some of the characters are subtly made in Latin America and the United States (perhaps the same game Cortazarian - "this side" "Other side" - but with different spaces).
are characters who come and go, digging his identity on the edge of the first and third world. They, in turn, characters become confused between money and real life aspirations. Furthermore, with the exception of the story "Caravan", almost all characters in the book are marginal beings neighborhood with hopes of making a destination elsewhere, migrating out of obligation rather than conviction. In them, the American dream is depreciated and the chances of victory vanish in the country of economic comfort: tanto la reina que se degrada en Estados Unidos, el “fat boy” lleno de fantasías heredadas de la lectura de historietas, o la trabajadora de fábrica que inventa una historia y termina involucrada en un crimen, son ejemplos de una soledad no compartida –ni de este lado, ni del otro-, y de la liquidación de los sueños incluso donde al parecer más florecen.
Considero que parte de este libro –hasta el cuento seis para ser más exacto- conserva la tensión en las acciones y un trabajo fuerte de elaboración de caracteres que percibí en La otra selva. No hay un afán experimental –por lo least until the story in question, and the phenomenon of migration of Latinos to the U.S. marginal maintains the depth of a work as time shadows. is an entertaining and well written book, except for me, in his last two stories of which, from time to hide, and I have even forgotten their names.
Leonardo Monroy Zuluaga
Book Details:
Salazar, Boris (1992). Caravan. Cali: Universidad del Valle
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