Formas de lo impersonal en Modo linterna de Sergio Chejfec
Fecha
2018-09
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria
Resumen
Descripción
En el relato “Novelista documental” el narrador formula el “deseo de empezar de nuevo”, a lo que agrega que esto es “casi lo único que un escritor tiene vedado” (Modo linterna 112). Este enunciado un tanto enigmático, que parece plantear una interdicción a la fantasía de borrar todo lo dicho anteriormente por un escritor, no hace más que propiciar la posibilidad del recomienzo. Todos los textos que componen Modo linterna serían experimentos o puestas en práctica de ese anhelo. Este trabajo se propone analizar en ellos no solamente la singularidad formal que los constituye, sino también los diversos modos que asume la dimensión de lo impersonal en el libro: en la experiencia urbana, en la voz narrativa y en la percepción de lo real.
In the story "Novelista documental" the narrator formulates "desire to start over", to which he adds that this is "almost the only thing that a writer has forbidden" (Modo linterna112). This somewhat enigmatic statement, which seems to pose an interdiction to the fantasy of erasing everything previously said by a writer, does nothing but propitiate the possibility of resuming. All the texts that make up Modo linterna would be experiments of that longing. The aim of this paper is to analyze not only the formal singularity that constitutes these texts, but also the different modes assumed by the dimension ofthe impersonal in the book: in the urban experience, in the narrative voice and in the perception of the real.
In the story "Novelista documental" the narrator formulates "desire to start over", to which he adds that this is "almost the only thing that a writer has forbidden" (Modo linterna112). This somewhat enigmatic statement, which seems to pose an interdiction to the fantasy of erasing everything previously said by a writer, does nothing but propitiate the possibility of resuming. All the texts that make up Modo linterna would be experiments of that longing. The aim of this paper is to analyze not only the formal singularity that constitutes these texts, but also the different modes assumed by the dimension ofthe impersonal in the book: in the urban experience, in the narrative voice and in the perception of the real.
Palabras clave
Impersonalidad, Narrativa, Literatura contemporánea, Sergio Chejfec, Impersonality, Narrative, Contemporary Literature