Filiaciones, huellas literarias, reescrituras: cinco novelas ecuatorianas.
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Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
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El artículo estudia un conjunto de
novelas ecuatorianas –publicadas en el curso del
nuevo siglo–, que explícitamente evidencian, y
problematizan, el diálogo con su propia tradición
narrativa. Sus autores recurren a estrategias de
apropiaciones, reescrituras, hurtos y
“correcciones”, en un juego de amplias
resonancias intertextuales y metaliterarias. El
corpus de estudio lo conforman cinco novelas:
El pinar de Segismundo (2008), de Eliécer Cárdenas;
Oscurana (2011), de Luis Carlos Mussó; Memorias
de Andrés Chiliquinga (2013), de Carlos Arcos;
Tatuaje de náufragos (2008), de Jorge Velasco
Mackenzie, La desfiguración Silva (2014), de
Mónica Ojeda. Las novelas mencionadas se
construyen alrededor de una red de relaciones y
referencias a otros textos, en donde la literatura
misma deviene archivo y fuente de nuevas
escrituras. Interesa pensar la construcción de una
línea de filiaciones y genealogías literarias, la
memoria afectiva como detonante de un deseo
de escritura, la presencia del nombre propio
como disparador de sentidos, la producción de
pensamiento y debates desde la imaginación
literaria, la aparición de escritores y personajes en
calidad de fantasmas que interpelan al escritor
contemporáneo en calidad de heredero de una
tradición. Los autores de las novelas discutidas
son, ante todo, lectores de una tradición
narrativa: escriben desde una biblioteca
compartida, y desde una particular relación
afectiva con personajes, libros y escritores que
habitan la memoria literaria. Interesa leer la
novelística contemporánea como escenificación
de un legado, así como un ejercicio de
rememoración, reescrituras y trabajo en
comunidad.
The last years The article studies a set of Ecuadorian novels - published in the course of the new century - that explicitly make evident and problematize the dialogue with their own narrative tradition. Their authors resort to strategies of appropriation, rewriting, theft and "corrections", in a game with extensive intertextual and meta-literary resonances. The corpus of study is made up of five novels: El pinar de Segismundo (2008), by Eliécer Cárdenas; Oscurana (2011), by Luis Carlos Mussó; Memorias de Andrés Chiliquinga (2013), by Carlos Arcos; Tatuaje de náufragos (2008), by Jorge Velasco Mackenzie, La desfiguración Silva (2014), by Mónica Ojeda. The aforementioned novels are built around a network of relationships and references to other texts, where literature itself becomes a source and archive of new writings. It is interesting to think of the construction of a line of affiliations and literary genealogies, affective memory as a detonator of a desire for writing, the presence of the proper name as a trigger of senses, the production of thought and debates from the literary imagination, the appearance of writers and characters as ghosts that challenge the contemporary writer as heirs to a tradition. The authors of the novels discussed are, above all, readers of a narrative tradition: they write from a shared library, and from a particular affective relationship with characters, books and writers who inhabit literary memory. It is interesting to read contemporary novels as the staging of a legacy, as well as an exercise in remembrance, rewriting and working in community.
The last years The article studies a set of Ecuadorian novels - published in the course of the new century - that explicitly make evident and problematize the dialogue with their own narrative tradition. Their authors resort to strategies of appropriation, rewriting, theft and "corrections", in a game with extensive intertextual and meta-literary resonances. The corpus of study is made up of five novels: El pinar de Segismundo (2008), by Eliécer Cárdenas; Oscurana (2011), by Luis Carlos Mussó; Memorias de Andrés Chiliquinga (2013), by Carlos Arcos; Tatuaje de náufragos (2008), by Jorge Velasco Mackenzie, La desfiguración Silva (2014), by Mónica Ojeda. The aforementioned novels are built around a network of relationships and references to other texts, where literature itself becomes a source and archive of new writings. It is interesting to think of the construction of a line of affiliations and literary genealogies, affective memory as a detonator of a desire for writing, the presence of the proper name as a trigger of senses, the production of thought and debates from the literary imagination, the appearance of writers and characters as ghosts that challenge the contemporary writer as heirs to a tradition. The authors of the novels discussed are, above all, readers of a narrative tradition: they write from a shared library, and from a particular affective relationship with characters, books and writers who inhabit literary memory. It is interesting to read contemporary novels as the staging of a legacy, as well as an exercise in remembrance, rewriting and working in community.
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