READING SCENES
[1]
(*) By Edgardo H. Berg
critic as a writer or the writer and critic, this ambiguity or paradox is fed all the work Ricardo Piglia. From his first critical work, between sixty and seventy, on Cesare Pavese, Ernest Hemingway and the American detective story, or assistance on Manuel Puig, Luis Gusman, Roberto Arlt, Borges, Cortazar, and then continues by Sarmiento, Borges, Gombrowicz and Macedonio Fernández, later, in his collection of interviews and fiction
Criticism (1986) or in his collection of short essays in Argentina in pieces
(1993), who had officiated as scripts first literary illustrations Journal of
Fierro, reaching briefly
(1999) and his essay on Rodolfo Walsh in Three proposals for the next millennium (and five difficulty) (2001), as a duet with Leon Rozitchner, Ricardo Piglia has managed to renew literary criticism away from its most visible and stereotyped. [2] Moreover, the failure to recognize the edges and the precise limits, like a Moebius strip, between criticism and fiction, between argumentation and narration, between interviews and literary conversation between narrative and modulation essay, puts us in the experience armed a universe of discourse from the vibration of the border and the reversibility of the acts of reading and writing. Better yet, this situation, since its inception, has been integral to his narrative. Or to put it bluntly, can only be thoughtful side of his novels and stories: false name (1975) Artificial respiration (1980), Prison life (1988) The Absent City (1992) and Money to Burn (1997). imaginary stories, personal stories build a network of motifs and scenes mobile The last reader, like the paintings of exposure of a living literary museum whose ontic reactualiza download or processing experience. Anna Karenina by reading an English novel in the light of a lantern, on a train journey from Moscow to St. Petersburg, Hamlet entering the royal palace with a book in hand, after speaking with the ghost of his father, Madame Bovary reading their Philip Marlowe novels, sentimental or leafing through a cheaper police in a motel. The meeting furtive lovers, Felice Bauer and Franz Kafka in the momentary interruption of a written correspondence, Joyce letters spelling through a loupe, or reading Borges with the paper glued to the eyes. Imprecise border between life and work, writing is an extension of the act of reading and both are aware of a personal diary, a log book. Mirror-like figures, the reader becomes another subject that refracts the author. In this sense, Piglia book is presented as a minimal history of ways of reading and its effects, as a kind of laboratory setting and correcting reading experience, or where it pursues the traces left by the reading and registration form in life. The last player says Piglia, is secretly attached to "The Last Reader", the song of Charles Ivens based on the poem by Oliver Wendell Holmes. However, as we know, the author's stories are often, often, a form of criticism and in this sense, it is significant that the book is published in the collection "Hispanic narrative" of the editorial and reflections Anagram on the transformative experience of the reading act opens with a story. The narrative frame is actually a fiction that describes a human passion and the central issue around which the debate imagery of the prologue, there is the likelihood of personal experience transmitted, or passages and motifs borrowed from The Absent City, or the influence of Borges that we necessarily refer to "The Aleph." The story tells the story of a photographer, who confined in a house of an old neighborhood of Buenos Aires, more precisely in the neighborhood of Flores, retains a replica of a city that has worked for years. The work more than a reproduction, is a synoptic machine detailing each feature contained in the royal city. Thus, in solitary contemplation of the city, built on a microscopic scale, "leaves the building seen at one time, because in reality, can only be seen by a viewer. We could say that individual perception of the city mimics, if you will, the solitary act of reading. And reading as an art of microscopy, perspective and space, as intended by James Joyce, is a lesson in optics: the art of seeing multiple worlds in a minimal layer of language. Thus the act of reading appears on the scene in a story, from the beginning of the book. The time of reading and the story would be complementary and symmetrical, mirror reflections of each other and could be substituted without distortion. What is at stake in the prologue of
The last player is the ability to fictionalize all the contradictions of reading a narrative can contain them. And in this sense, the story-introduction would be able to be an allegory of reading. In the fourth chapter, which is perhaps one of the most unforgettable and exquisite chapters of the text, Ricardo Piglia pursues the traces of reading Che Guevara to account for the natural tension between arms and letters, between reading and action , between life and lived life read between the interpretive hesitation and political decision. The figure of the reader, who decodes and interprets the perfect synecdoche of the modern intellectual. The snuff and books in a leather portfolio, are stored as other addictions that lost image the writer failed. However, migrant and reading up before a match or before the imminence of the final chase in Ñancahuazu, Bolivia, disturb the nostalgia of the literature and made life as an artist. If in chapter three, "Readers imaginary" (77-102), dedicated to police, Piglia see the transfer of man of letters man of action, in the passage deviated from the figures of Auguste Dupin (Poe) and Philip Marlowe ( Chandler), in Guevara stops in reversing what he calls "symptom Dahlman." Exit the library, the world of letters, no action will be determined by the encounter with the other, with the barbarian, but go to meet a partner, with the social victim and the dispossessed. And if Piglia joining the travel experiences of the young Guevara with the American tradition of the Beat Generation (Jack Kerouac and his book On the Road
as an example of this) is because the writing of a life and travel, meet at the alternative to a counter-expertise. This wanderer is also to be politicized in some way, the bum on the side of the road, refusing, in their dress, the world of work and the validity of money. Or the doctor who read the social symptoms and confirms the operation marks on the reading of the bodies. Read the stories of Guevara Sierra Maestra while his companions rest, photographic records where it is seen reading the rest of the fight, build a story of Guevara, crossed by two "beats" and abrupt metamorphosis, permanence and continuity. Although mutations and transformative experiences, the continuity of reading through the Che in its history. A Ernesto Che becomes: and this passage is experienced and decryption from the writing and reading. "We could talk about a reading in danger. Reading situations are always extreme, out of place at times of loss, death, or which harasses the threat of destruction. The Reading opposes a hostile world, as the remains or memories of another life, "said Piglia. The starting point is the picture of Guevara in Bolivia, reading up a tree on the sidelines of the fight. The end point is the phrase (the last sentence read again by a reader last) remaining on the board of the schoolhouse in La Higuera where he spent his last hours. At the end of his life, the two figures, the reader and the warrior, come together and marry their durations. Che wounded and lying on the floor of a classroom, she says Julia Cortes, a teacher takes her place a bowl of stew, the error of the phrase written on the blackboard, the lack of an accent. The phrase was "I know how to read" and as character from a story by Jack London, Che Guevara died with dignity, paying with his life the loyalty of a thought. The last reader, his latest book, is, as Piglia the end, "perhaps the most personal and most intimate of all who have written." The narrator and essayist seeks to decipher what a reader turning the pages of world literature that have marked his life and works. And the skill of Piglia is walking between the records as if they always dwell in the house. In reading race wins it runs slower, holds Piglia. Outside the dominant social practices, and untimely replicating the rhythms imposed by SMS chat and blogs, bookish reading remains as enigmatic and ancient coin shining on the temporal overlap of the existing scripts.
[3]
The last player is the ability to fictionalize all the contradictions of reading a narrative can contain them. And in this sense, the story-introduction would be able to be an allegory of reading. In the fourth chapter, which is perhaps one of the most unforgettable and exquisite chapters of the text, Ricardo Piglia pursues the traces of reading Che Guevara to account for the natural tension between arms and letters, between reading and action , between life and lived life read between the interpretive hesitation and political decision. The figure of the reader, who decodes and interprets the perfect synecdoche of the modern intellectual. The snuff and books in a leather portfolio, are stored as other addictions that lost image the writer failed. However, migrant and reading up before a match or before the imminence of the final chase in Ñancahuazu, Bolivia, disturb the nostalgia of the literature and made life as an artist. If in chapter three, "Readers imaginary" (77-102), dedicated to police, Piglia see the transfer of man of letters man of action, in the passage deviated from the figures of Auguste Dupin (Poe) and Philip Marlowe ( Chandler), in Guevara stops in reversing what he calls "symptom Dahlman." Exit the library, the world of letters, no action will be determined by the encounter with the other, with the barbarian, but go to meet a partner, with the social victim and the dispossessed. And if Piglia joining the travel experiences of the young Guevara with the American tradition of the Beat Generation (Jack Kerouac and his book On the Road
as an example of this) is because the writing of a life and travel, meet at the alternative to a counter-expertise. This wanderer is also to be politicized in some way, the bum on the side of the road, refusing, in their dress, the world of work and the validity of money. Or the doctor who read the social symptoms and confirms the operation marks on the reading of the bodies. Read the stories of Guevara Sierra Maestra while his companions rest, photographic records where it is seen reading the rest of the fight, build a story of Guevara, crossed by two "beats" and abrupt metamorphosis, permanence and continuity. Although mutations and transformative experiences, the continuity of reading through the Che in its history. A Ernesto Che becomes: and this passage is experienced and decryption from the writing and reading. "We could talk about a reading in danger. Reading situations are always extreme, out of place at times of loss, death, or which harasses the threat of destruction. The Reading opposes a hostile world, as the remains or memories of another life, "said Piglia. The starting point is the picture of Guevara in Bolivia, reading up a tree on the sidelines of the fight. The end point is the phrase (the last sentence read again by a reader last) remaining on the board of the schoolhouse in La Higuera where he spent his last hours. At the end of his life, the two figures, the reader and the warrior, come together and marry their durations. Che wounded and lying on the floor of a classroom, she says Julia Cortes, a teacher takes her place a bowl of stew, the error of the phrase written on the blackboard, the lack of an accent. The phrase was "I know how to read" and as character from a story by Jack London, Che Guevara died with dignity, paying with his life the loyalty of a thought. The last reader, his latest book, is, as Piglia the end, "perhaps the most personal and most intimate of all who have written." The narrator and essayist seeks to decipher what a reader turning the pages of world literature that have marked his life and works. And the skill of Piglia is walking between the records as if they always dwell in the house. In reading race wins it runs slower, holds Piglia. Outside the dominant social practices, and untimely replicating the rhythms imposed by SMS chat and blogs, bookish reading remains as enigmatic and ancient coin shining on the temporal overlap of the existing scripts.
[3]
Notes
[1]
This note reproduces fragmentary reflections of my article "The Cabinet of Dr. Caligari: Sergio Ricardo Piglia and Chejfec as critical, "published in the Journal Grumo
[2] Piglia Ricardo's essay is accompanied by the other side of the book by Mi Buenos Aires Querido Rozitchner Leon.
[3] See Patriicia interviews the author of Somoza, "Reading, writing, networking," in DNA Culture, The Nation, 19/04/2008, 6-7 and Raquel Garzón "In Praise of Slowness in
Ñ, Journal of Culture, Clarín, 20/1/2008, 6-8.
[3] See Patriicia interviews the author of Somoza, "Reading, writing, networking," in DNA Culture, The Nation, 19/04/2008, 6-7 and Raquel Garzón "In Praise of Slowness in
Ñ, Journal of Culture, Clarín, 20/1/2008, 6-8.
Schlickers, as I too am 
