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Po" r do not miss what we have experienced, why have to write?
Patricia de Souza
Memory is a sinking ship and that requires continuous rescue discipline.
Ismael Grasa, From Madrid to heaven
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1. Tom McCarthy described in Rem ainda ( Waste ; Language of Cloth, Madrid, 2007) , excellent novel we talked on this blog at the time, how a person who has become millionaire decides to rescue a déjà vu and reconstruct a building in London for a moment, a sense, lived many years ago. million pounds tions, several shifts of bricklayers, stakeholder groups and a team of collaborators are made to serve the recreational whim is the second part in the reconstruction of another moment, in this case robbery a bank. The protagonist says at one point: "Why had he decided to move the re-creation of the same bank robbery? For the same reason he had done everything had done (...) to be real, to become fluent, natural, cutting the turning away from the critical path of events, preventing touching its essence "(p. 266).
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2. Patricia de Souza, Tristan ; High zor, Lima, 2010.
The narrator counts in first person the story of Tristan recovery exercise produces a memory that sometimes seems the exorcism of an old affair with a young man named Tristan, sometimes a dire need vita l to remember and sometimes a literary exercise of memory led to the continued existence: "My love for him has shown me my need, my desire to transcend the length of time and its extinction" (p. 61). Halfway through various genres, between autoficcional, the fictional (well, it would appear the end of the first part) and the autobiographical, Patricia de Souza (Cora Cora, Peru, 1964) tries to rebuild actually opposed ("can not be built if not for opposition ', p. 81), facing the mirror of love lost through it by setting the own identity. In the end the author admits the work load bearing wall that the male presence has had on their personal background and so it is not uncommon for Tristan, this figure appears in part real and part is the fabled theme of the reconfiguration memorial.
The book is also, on the other hand, a prologue about the importance that literature has had all this journey, sir watching the verbal tool that configures the memory: "Why not let what we have experienced, why have to write it?" (p. 63). It's the same question I answered Ricardo Piglia recently, to clarify that only reminded of his past that has left him in her diary. In this regard we must highlight the honesty and intelligence of the latter part of the book, closer to trial than fiction: "The story writes itself, we have to rewrite it forever, with our own instruments, with our language. Remember certain events, NAR LLE blanks, the ontological division between past and present, which is like jumping a puddle of dirty water to reach the other side of light "(p. 94). As I have read on the web, the author has stated on occasion that she is a concern that [1] and p rather reoccupy the genre he does, configuring their work as a reflection of feminine discourse. Tristan is squarely within the ambit that definition, in my opinion a very clever and precise, also set as a deep and far to wonder about the possibility of the literary construction of memory.
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3. Mercedes Cebrián, The new taxidermy , Mondadori, Barcelona, \u200b\u200b2011.
enable new knowledge I Cebrian, an author of young people that have always seemed more interesting, published in this volume two nouvelles common theme would be the identity . The second one, Voice deliver bad news, is an elaborate reflection on ventriloquism as a way of expressing one's own subjectivity and the self as a mask, in another place back to it. What interests us here today as an extreme form of reprocessing of memory, is the first novel, What immortal have been approached in a manner similar to Remainder , McCarthy's novel. Cebrián In the narrative of the purpose is similar: to rebuild materially true and a moment of personal memories of the protagonist. The narrator's first job is to select "the event which deserves to be rebuilt" (p. 17), in this case a party something sappy, yes, people of thirty, forty-something "(p. 18), which had place in a friend's house, and then select something more important: the moment to be reinstated: "no fall into the trap of recreating his remains off, which is the hostess the next day (...) is to rebuild the party at the time his name has not yet been released: the ashtrays clean, spotless glasses without spots lipsticks, cake tray still intact (...) and we, the newcomers, also intact and with the feeling to deserve something extraordinary "(p. 19). Then begins his "project recovery" constituted a "small business to recover situations experienced" (p. 29), from their memories and some images saved from this event. To explore the opportunities recreates first with some success, the bedroom of the boyfriend I had when I turned 19, and that first experience and draws a conclusion: "Once the reconstruction has begun to assume all the consequences, as in the police investigation of a murder, as in a Psychoanalysis in conditions "(p. 37; see also p. 47), a reflection that could also be drawn, though not explicitly, McCarthy's novel, where the actors have to finish the amenities of the plot. Cebrián's protagonist performs a complex process of searching for objects, fabrics, furniture, etc., To enable impersonation total space a basement, in a process that lasts for months. The plot is complete when a surprise appears to host the royal party, and looks perplexed the natural reconstruction of their own home. Let readers know for themselves what happens then.
The difference with McCarthy's novel is that while the hero of Remainder sought by the mere reconstruction of memory space to contemplate and achieve the artificial revival of déjà vu the heroin have been What immortal also wants to return to be then to recreate the experience completely, incarnating. Ie: the protagonist of Remainder is a spectator, the narrator of What immortal have been strictly speaking is a time traveler, who moves through the virtual reconstruction -understanding this expression in an "analog" - of the situation experienced. So I will lose weight, regain discarded clothes and return for a haircut in the style and looked outdated by then, it generated a number of physical mechanisms of the previous identity. One of the characters Remainder says the "ultimate goal" of recreation seems to be " access to a kind of authenticity through residual strange meaningless" (p. 261 ), in the case of What immortal have been standing is very different, in fact conforms to a requirement for a justification and is given by the fact that, even normal process of remembrance, "it is unclear if the memory is a sum of photographs, stories, objects and sound of an event, or if more synergistic in nature and the sum of all these reasons does not even remotely a result equivalent to the scene was reminiscent "(p. 16). In the work of McCarthy, his characters believe in loyalty of memory, and therefore the possibility of restitution of meaning, in the manner proposed by TS Eliot in Four Quartets . In contrast, postmodern Cebrián is pure, understands that the memory is itself a fake again so that the spatial reconstruction of an episode happened before is no less arbitrary and legitimate that which appears "on a screen as improvised summer film in my own brain" (p. 15) in the form of remembrance. For your character does not exist the word authenticity , allowing it to operate freely and without any limitation moral. As we see, are hardly traceable most extreme experiments of recovery of the past as those described in this short novel Cebrián, embodied in a volume of nouvelles highly recommended.
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[Relationship with publishers reviewed: None. Relationship with the authors reviewed, with Tom McCarthy and Patricia de Souza, no, with Mercedes Cebrián, small and friendly]
[1] "I do not write thinking I'll do a story or a novel, just write" interview Barcelona Review .
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