Un gótico orillero: Pedro Lemebel
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria.
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El artículo propone un recorrido a través de algunas crónicas de Pedro Lemebelen las cuales se impone la estética gótica. Siguiendo a María Negroni, si esta elección se justifica en la figura femenina –por presencia efectiva, ausencia desoladora o desplazamiento–, el protagonismo que adquiere lo trans en los textos representa el primer ajuste al género, aunque en este caso el territorio estético queda en disputa con los recursos verbales del barroco que ubican a Lemebel en la serie abierta en Sudamérica por Néstor Perlongher con el neobarroso. Las referencias a los suburbios y bajos fondos santiaguinos, la muerte a causa del SIDA con toda su parafernalia fúnebre en torno a los cuerpos demacrados y la emergencia de las tribus urbanas que disputan el espacio ciudadano con las pretendidas divas del arrabal son algunos de los aspectos en los que se despliega el gótico lemebeliano con vocación de resistencia política.
The article proposes a round through some chronicles of Pedro Lemebel in which the Gothic Aesthetics is imposed. According to María Negroni, if this choice is justified in the case of the female figure –by effective presence, bleak absence or spatial movement–, the first adjustment to the gender is the foreground that the trans acquires in the texts, although in this case the aesthetic territory is in dispute with the baroque verbal resources which place Lemebel in the series began in South America by Néstor Perlongher with the neobarroso. References to the suburbs in Santiago, death by AIDS with all its funeral paraphernalia around emaciated bodies and the emergence of urban tribes in dispute for the urban space with the alleged divas of the suburb are some of the features in which the Gothic lemebeliano unfolds with vocation of political resistance.
The article proposes a round through some chronicles of Pedro Lemebel in which the Gothic Aesthetics is imposed. According to María Negroni, if this choice is justified in the case of the female figure –by effective presence, bleak absence or spatial movement–, the first adjustment to the gender is the foreground that the trans acquires in the texts, although in this case the aesthetic territory is in dispute with the baroque verbal resources which place Lemebel in the series began in South America by Néstor Perlongher with the neobarroso. References to the suburbs in Santiago, death by AIDS with all its funeral paraphernalia around emaciated bodies and the emergence of urban tribes in dispute for the urban space with the alleged divas of the suburb are some of the features in which the Gothic lemebeliano unfolds with vocation of political resistance.
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