La vida en juego. Diario de un canalla y Burdeos, 1972 de Mario Levrero.
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Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
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Este trabajo se propone analizar dos textos de Mario Levrero. En ambos casos la escritura del diario aparece para el autor como una necesidad o urgencia para “recuperar algo perdido, para juntar lo disperso”; como un recurso para apelar a lo "estrictamente vivido" y, a partir de allí, construir lo que será su literatura; con lo cual la pregunta que surge en este sentido, sería ¿qué lugar ocupa entonces, la forma de la escritura íntima, la necesidad de fechar determinados sucesos, en relación con los que conforman el resto de su obra? ¿qué posibilidades literarias le ofrece el registro cotidiano de estas vivencias que, al tiempo que funciona como un ejercicio de recapitulación mediante el cual se desanuda la memoria, permite el desborde hacia la invención y el encuentro con lo imaginario?
This work proposes analyze two text of Mario Levrero. In both cases the writing of the diaries appears to the autor as a need or an urgency to “recover something lost, to join the dispersed”; as a resource to appeal to “strictly lived” and, from there, build what will be his literature; thus the question which arise, in these sense would be which place takes the intimed form, the need of date determinated events, in relation with the ones which are adjusted to the rest of the play? What kind of literary posibilities are offered from the daily register of this experiences, which as the same time works like a regresive exercice, of recapitulations whe-reby the memory is untied, allow the overflow to the invention, the opening and the meeting with the imaginary?
This work proposes analyze two text of Mario Levrero. In both cases the writing of the diaries appears to the autor as a need or an urgency to “recover something lost, to join the dispersed”; as a resource to appeal to “strictly lived” and, from there, build what will be his literature; thus the question which arise, in these sense would be which place takes the intimed form, the need of date determinated events, in relation with the ones which are adjusted to the rest of the play? What kind of literary posibilities are offered from the daily register of this experiences, which as the same time works like a regresive exercice, of recapitulations whe-reby the memory is untied, allow the overflow to the invention, the opening and the meeting with the imaginary?
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