Antonio José Ponte: el último contertulio.
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Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
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En La fiesta vigilada (2007), el escritor cubano (en el exilio) Antonio José Ponte ha rehabilitado un malestar en vías de desaparición para la mayor parte de Occidente: el temor de la cultura frente al Estado. Alrededor de él, Ponte ha escrito una notable elegía a la alta cultura, a la sensibilidad y las operaciones en que se funda, incluso a la comunidad alternativa que parece ofrecer. A contrapelo de las lecturas “posmodernas” de Ponte, como la de Reinaldo Laddaga que aquí se discute, este artículo sugiere que a su atractivo no son ajenos el anacronismo y la melancolía, en tanto nos recuerda la época heroica de la autonomía literaria, tan desdibujada en tiempos de hegemonía del mercado.
In La Fiesta Vigilada (2007), the Cuban writer-in-exile, Antonio José Ponte, resuscitates a theme in danger of extinction in much of the West: culture’s fear in the face of the State. Around this issue, Ponte has written a noteworthy elegy to high culture, to its sensibilities and operations, and even to the alternative community which it purports to offer. Writing against the grain of “postmodern” readings of Ponte’s work, such as that of Reinaldo Laddaga, this article suggests that Ponte’s appeal is to some degree anachronistic and melancholic, insofar as he remind us of the grand era of literary autonomy, so faded in times of market hegemony.
In La Fiesta Vigilada (2007), the Cuban writer-in-exile, Antonio José Ponte, resuscitates a theme in danger of extinction in much of the West: culture’s fear in the face of the State. Around this issue, Ponte has written a noteworthy elegy to high culture, to its sensibilities and operations, and even to the alternative community which it purports to offer. Writing against the grain of “postmodern” readings of Ponte’s work, such as that of Reinaldo Laddaga, this article suggests that Ponte’s appeal is to some degree anachronistic and melancholic, insofar as he remind us of the grand era of literary autonomy, so faded in times of market hegemony.
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