Baron BIZA via Ferrer (by Sebastian Hernaiz)
Friday, March 5, 2010
[i]
1 - first
time ago, Juan Liefeld Paul invited me to write an essay on Christian Baron Ferrer Biza to
time ago, Juan Liefeld Paul invited me to write an essay on Christian Baron Ferrer Biza to
a magazine he was planning. So I write these pages. And start like this is not fancy, but the way that I set for the purposes of this text: write about Ferrer.
Late last year, with his lucid and perfectly messy prose
Liefeld also wrote about this book and this author. In his essay began telling how he had come to read some texts of Ferrer, and how to listen to their classes and some lectures and conferences. Perhaps appropriate, then, to begin with, say, to some extent with John Paul the first thing that crossed in sympathy was a taste for Ferrer texts and some of his generation, such as magazine polled eye, where shared campus with Maria Pia Lopez, Guillermo Eduardo Rinesi and Korn, among others. With several of these names on a table, stacked next to beer and cigarettes in the form of books, magazines or photocopies, not lacking, since then, nights when the talks would be part of Cousido Diego drunk with Hernan Sassi or John Leotta, among some other friends who got together to wander and get drunk: eternal night with the steps fractions of life were happening and disrupting. To start writing a book by Ferrer, the first thing to consider is that does not mean little to a text-Ferrer texts, in this case was able to function as a communication channel for friendship, in a way that is caring and intellectual at the same time, as something that extends only in lectures and writings.
So when John Paul I invited to write, I just wanted to say yes.
2 - curiosity and digressions Start first person to discuss a book of Christian Ferrer is no accident or whim. That is the way his books seem to ask. Because Ferrer presents himself, in his book, as a first person, without being exhibitionist egotism, is disclosed without hiding behind the objectivity of the detached type. Ferrer writes as becoming known, presenting himself as the subject crossed by the history and social ties that constitute it and make the individual a community act. The dialogue that opens the author is inevitably brought from there. There is no object cauterized study that emerges from the detailed investigation. There is research itself, and other meticulously documented, but what is written is the report on a subject of study. What is written is the story that emerges from many meetings: "What did Baron Biza when I found your books?" Asks at the beginning of the text. The question is central to the modus epistemological and constructive book. For Ferrer, the individual story bears telling, because in his personal journey flashes clearly how a company digested the history books and Biza Baron, and as such, as many stories and books. soon understand that Baron Biza - The immoralist be a powerful book full of digressions. Ferrer remembers arriving at the name of Baron Biza by comments heard in bookshops, in bookshops that will be then the only place to find books Biza Baron. Comments and book treatment: data from Ferrer is allowed, then a first digression: it opens the space to reflect on the place and the social role of bookstores today. The book entitled Baron Biza shows soon one of the seams: the public life of Baron Biza is a cord around which the narrative and reflective capacity Ferrer will weave on various digressions phenomena that deserve to be reported.
found in bookstores Ferrer Biza Baron's books, and there I hear the name and stories were pervasive. Because Biza Baron after his death and his disappearance from public view, has long been that: a legend stammered in the basement, a story in the dust of used books. This state of the story appeals to Ferrer, who hears voices low and reset the origin of the story: "His name had been crimp stormy episodes but its consistency was almost exclusively oral
[1]
. There are countless anecdotes attributed to him. Many are fake or genuine is impossible to know now. There comes a time when myths become independent from its source. His work, at last, was liquefied in two minor genres: the crime news of the literature and the rumors that tend to slide the beings of the late night. "
3 to 1 unlikely man Soon you begin your book, Ferrer recalls a note from a newspaper as a commentary on the first novel Biza Baron. The newspaper said: "Baron Biza is a strange man and implausible [2]
." Immediately, it is interesting the effect it could generate Baron Biza among his contemporaries: "a man unlikely" said the journalist. It is not said in the newspaper "a novel far-fetched", it says "a man." "An incredible man." How can a man be unlikely?
's famous comment, a similar paradox. In a cafe two men playing chess. A few months ago in the city was a military uprising that was violently suppressed by government forces. Balance was the scuffle several shot. In the hot bar. One man says, in passing, "" There's a shot to live. " The paradox becomes the months in a pivotal book. We're talking, of course, Slaughter Operation by Rodolfo Walsh, where it all begins in a "remarkable story" que se “cree en el acto”. La potencia de lo inverosímil. El antecedente no es menor y acaso ahí se encuentre uno de los afluentes de la tradición que alimenta el libro de Ferrer: escribir sobre la verificable existencia de un hombre inverosímil; escribir sobre los mecanismos sociales, sobre las formas de la sociedad que hacen de un miembro de ésta, un hombre inverosímil.
El relato que hace Ferrer de la vida de Barón Biza –“de ciertos momentos en que sus acciones la hicieron notoria ante la opinión pública”- no es ni una exégesis ni una condena de la figura de Barón Biza. Es un intento de indagar el modo en que este hombre inverosímil fue posible y el modo en que entrelazó his days with the society of the twentieth century Argentina. Not in vain Ferrer soon choose to remember a phrase that could be an answer to that newspaper obituary. Baron Biza once wrote: "More than a freak, I am a social product" Ferrer alluded several times to "be a writer" Baron Biza. At various times it does with a particular twist that is repeated and that repetition sheds light on how to participate in social understanding that had Baron Biza Ferrer. He says, for example, "Baron Biza himself during the 1920's presented as a writer" or "right to kill, 1933, would grant public visibility, but did nothing with that book to appear in society as if by going to a duel, and without sponsors. " Biza Baron is a writer as a way to participate in society as a way to appear in society. The narrative will Ferrer unlikely that this man is presented as a writer will focus on the social relations that constitute the Baron Biza that emerges from the book. And family relations, and loving, and economic, and cultural and political. In the chapters broken down into different modes of social participation is a sense the book's index: the father, the financier, the lover, the revolutionary.
is significant that the subtitle chosen for the book has been "immoral". That term used to Baron Biza in the title is an appropriation of the category of immoral society that he had in his breast indilgó. However, when choosing one inside the text, Baron Biza appears with other epithet, "Baron Biza, writer." The alternation of the epithets that are added are, however, a phase difference or error. Together account for Baron Biza and society: immorality and writer, in that arc, Baron explained the self-perception and how Biza circulating among his contemporaries. Ferrer writes Baron proposed Biza return to society a cruel image in the mirror. Vomit. "
4 - Suicide and narration
Late last year, with his lucid and perfectly messy prose
Liefeld also wrote about this book and this author. In his essay began telling how he had come to read some texts of Ferrer, and how to listen to their classes and some lectures and conferences. Perhaps appropriate, then, to begin with, say, to some extent with John Paul the first thing that crossed in sympathy was a taste for Ferrer texts and some of his generation, such as magazine polled eye, where shared campus with Maria Pia Lopez, Guillermo Eduardo Rinesi and Korn, among others. With several of these names on a table, stacked next to beer and cigarettes in the form of books, magazines or photocopies, not lacking, since then, nights when the talks would be part of Cousido Diego drunk with Hernan Sassi or John Leotta, among some other friends who got together to wander and get drunk: eternal night with the steps fractions of life were happening and disrupting. To start writing a book by Ferrer, the first thing to consider is that does not mean little to a text-Ferrer texts, in this case was able to function as a communication channel for friendship, in a way that is caring and intellectual at the same time, as something that extends only in lectures and writings.
So when John Paul I invited to write, I just wanted to say yes.
2 - curiosity and digressions Start first person to discuss a book of Christian Ferrer is no accident or whim. That is the way his books seem to ask. Because Ferrer presents himself, in his book, as a first person, without being exhibitionist egotism, is disclosed without hiding behind the objectivity of the detached type. Ferrer writes as becoming known, presenting himself as the subject crossed by the history and social ties that constitute it and make the individual a community act. The dialogue that opens the author is inevitably brought from there. There is no object cauterized study that emerges from the detailed investigation. There is research itself, and other meticulously documented, but what is written is the report on a subject of study. What is written is the story that emerges from many meetings: "What did Baron Biza when I found your books?" Asks at the beginning of the text. The question is central to the modus epistemological and constructive book. For Ferrer, the individual story bears telling, because in his personal journey flashes clearly how a company digested the history books and Biza Baron, and as such, as many stories and books. soon understand that Baron Biza - The immoralist be a powerful book full of digressions. Ferrer remembers arriving at the name of Baron Biza by comments heard in bookshops, in bookshops that will be then the only place to find books Biza Baron. Comments and book treatment: data from Ferrer is allowed, then a first digression: it opens the space to reflect on the place and the social role of bookstores today. The book entitled Baron Biza shows soon one of the seams: the public life of Baron Biza is a cord around which the narrative and reflective capacity Ferrer will weave on various digressions phenomena that deserve to be reported.
found in bookstores Ferrer Biza Baron's books, and there I hear the name and stories were pervasive. Because Biza Baron after his death and his disappearance from public view, has long been that: a legend stammered in the basement, a story in the dust of used books. This state of the story appeals to Ferrer, who hears voices low and reset the origin of the story: "His name had been crimp stormy episodes but its consistency was almost exclusively oral
[1]
. There are countless anecdotes attributed to him. Many are fake or genuine is impossible to know now. There comes a time when myths become independent from its source. His work, at last, was liquefied in two minor genres: the crime news of the literature and the rumors that tend to slide the beings of the late night. "
3 to 1 unlikely man Soon you begin your book, Ferrer recalls a note from a newspaper as a commentary on the first novel Biza Baron. The newspaper said: "Baron Biza is a strange man and implausible [2]
." Immediately, it is interesting the effect it could generate Baron Biza among his contemporaries: "a man unlikely" said the journalist. It is not said in the newspaper "a novel far-fetched", it says "a man." "An incredible man." How can a man be unlikely?
's famous comment, a similar paradox. In a cafe two men playing chess. A few months ago in the city was a military uprising that was violently suppressed by government forces. Balance was the scuffle several shot. In the hot bar. One man says, in passing, "" There's a shot to live. " The paradox becomes the months in a pivotal book. We're talking, of course, Slaughter Operation by Rodolfo Walsh, where it all begins in a "remarkable story" que se “cree en el acto”. La potencia de lo inverosímil. El antecedente no es menor y acaso ahí se encuentre uno de los afluentes de la tradición que alimenta el libro de Ferrer: escribir sobre la verificable existencia de un hombre inverosímil; escribir sobre los mecanismos sociales, sobre las formas de la sociedad que hacen de un miembro de ésta, un hombre inverosímil.
El relato que hace Ferrer de la vida de Barón Biza –“de ciertos momentos en que sus acciones la hicieron notoria ante la opinión pública”- no es ni una exégesis ni una condena de la figura de Barón Biza. Es un intento de indagar el modo en que este hombre inverosímil fue posible y el modo en que entrelazó his days with the society of the twentieth century Argentina. Not in vain Ferrer soon choose to remember a phrase that could be an answer to that newspaper obituary. Baron Biza once wrote: "More than a freak, I am a social product" Ferrer alluded several times to "be a writer" Baron Biza. At various times it does with a particular twist that is repeated and that repetition sheds light on how to participate in social understanding that had Baron Biza Ferrer. He says, for example, "Baron Biza himself during the 1920's presented as a writer" or "right to kill, 1933, would grant public visibility, but did nothing with that book to appear in society as if by going to a duel, and without sponsors. " Biza Baron is a writer as a way to participate in society as a way to appear in society. The narrative will Ferrer unlikely that this man is presented as a writer will focus on the social relations that constitute the Baron Biza that emerges from the book. And family relations, and loving, and economic, and cultural and political. In the chapters broken down into different modes of social participation is a sense the book's index: the father, the financier, the lover, the revolutionary.
is significant that the subtitle chosen for the book has been "immoral". That term used to Baron Biza in the title is an appropriation of the category of immoral society that he had in his breast indilgó. However, when choosing one inside the text, Baron Biza appears with other epithet, "Baron Biza, writer." The alternation of the epithets that are added are, however, a phase difference or error. Together account for Baron Biza and society: immorality and writer, in that arc, Baron explained the self-perception and how Biza circulating among his contemporaries. Ferrer writes Baron proposed Biza return to society a cruel image in the mirror. Vomit. "
4 - Suicide and narration
Baron Biza committed suicide a winter night in 1964. Before that he had been a writer, traveler, exegete Yrigoyenist, forjista radical revolutionary, had been imprisoned several times, had married a Hollywood star who died in an attempt to exploit aviation, he wrote insulting letters to the pope, and had challenged to a duel with senior government officials, was childless, had erected a phallic monument larger cut than the obelisk, had been in exile, was a diplomat, made several hunger strikes, had the grant of underground passages of the city of Buenos Aires and had accused him of pornographic and immoral. Moreover, shortly before committing suicide, threw corrosive acid on the face to his second wife, the feminist pedagogy Sabattini Clotilde, who was separated a few years ago.
Biza The Baron family burden today with a history of suicide can not be thought vain operating as a substrate on the novel by Jorge Baron, the son of Baron Biza: "A large stream flowed consolation to me when did the first suicide in the family. When triggered the second, the current became a vacillating ocean and no horizon. After the third, the people are to close the window every time I walk into a room that is over three floors. "
are many figures who have committed suicide in Argentina. The generation of essayists to which it belongs Ferrer has dealt with some. For the sake of example: Eduardo Rinesi intelligently written a theory of the limits of liberalism as a way to recount the life and death of Lisandro de la Torre, and Maria Pia Lopez did the same tensions and passages that marked the life and death Leopoldo Lugones. In this book
Lugones, Pia Lopez writes that a man's suicide seems to require the reading gesture retrospect life as a story in which you can look for clues to explain the final act. The suicide of Lugones also wrote Borges, but somehow the reverse. Given the explanatory effect attempts to narrate a life in the light of suicide that closes, Borges opposed the need to recognize the complexity of the facts and recognize that one either, the most trivial, could be the trigger for the decision. What makes
Ferrer, in this sense, the story of a life that we know, ends and surrounds suicide? Ferrer also recalls the 1926 text itself Biza Baron: "That all suicide carries with it, dark and dormant, the seeds of its final determination is true that no one will pretend to argue, but there is no doubt that the environment influences on him dramatically. " Ferrer
write the life of this suicide. Write times of the life of this writer's suicide echoed in public life, write the moments of the life of this writer aristocrat, revolutionary suicide admires and condemns society. The story of this life, Ferrer, is a way of thinking a biography, a literary and national history. Ferrer narrates this life, rereading certain acts against public visibility, "It was daily news intermittently throughout his life." It is clear that Ferrer is not intended to condemn or redeem the figure Biza Baron. Interest, we are seeing in the succession of pages, is in the public sphere in society that was part Biza Baron, and Baron Mode Biza inserted in it.
In bookstores, said at the beginning, Ferrer reached the Baron Biza myth, the rumor noctivago. But beyond a certain passage in a digression, the book is a tribute to libraries. It is a tribute to Jorge Baron. The first chapter of the book is the story of life, not Baron Biza, but his son, Jorge Baron, author of the novel The desert and its seed. This chapter tells how Baron Jorge Ferrer and known, and how it gives, gives him a large file on your father. Perhaps it was a request that this book was written: "All things mailed to Buenos Aires. He had trusted me. But it was also clear that he expected me to write about Biza Baron. "
Ferrer wrote the book to accomplish what Jorge Barón expected. "He was a gentleman," says Ferrer. And the book has the tone of brotherhood felt. Baron Jorge Ferrer recognized as privileged recipient of his book, which he considers "a report confidendial." If Jorge Baron runs as a privileged partner holding the whisper of the book, the novel operates in the book as a prism Ferrer crumbly texture that loads of things to avoid relapse into linear explanatory attempt to forget the multiple and complex form of the real.
On September 9, 2001, Jorge Baron, the son of Raul Baron Biza, committed suicide, he. Two years earlier he had said: "My father, I want to be disconcerting, my mother, a wonderful human being whom I adore." The dignity of the words of Jorge Barón resonate in the character of a tribute to him Ferrer's book, in its way, it is. Narrating
public appearances Biza Baron, the eccentric aristocrat, the rabid megalomaniac immoralist arbitrary and may be tempted to pen the easy exercise to celebrate the stories hyperbolic and shrill. But the memory of Jorge Barón silhouetted through the entire book as ethical fund, giving it a sensible fleshiness to stories narrated Ferrer. No claims or convictions. Biza Baron's book is both attractive character Ferrer putting on clothes of beggars to the aristocracy of Argentina, as the sinister character that a cold night disfigures the face of Clotilde Sabattini, his ex-wife, the mother of Jorge Baron.
5 - the story told: tragedy and ceremony Biza The Baron family burden today with a history of suicide can not be thought vain operating as a substrate on the novel by Jorge Baron, the son of Baron Biza: "A large stream flowed consolation to me when did the first suicide in the family. When triggered the second, the current became a vacillating ocean and no horizon. After the third, the people are to close the window every time I walk into a room that is over three floors. "
are many figures who have committed suicide in Argentina. The generation of essayists to which it belongs Ferrer has dealt with some. For the sake of example: Eduardo Rinesi intelligently written a theory of the limits of liberalism as a way to recount the life and death of Lisandro de la Torre, and Maria Pia Lopez did the same tensions and passages that marked the life and death Leopoldo Lugones. In this book
Lugones, Pia Lopez writes that a man's suicide seems to require the reading gesture retrospect life as a story in which you can look for clues to explain the final act. The suicide of Lugones also wrote Borges, but somehow the reverse. Given the explanatory effect attempts to narrate a life in the light of suicide that closes, Borges opposed the need to recognize the complexity of the facts and recognize that one either, the most trivial, could be the trigger for the decision. What makes
Ferrer, in this sense, the story of a life that we know, ends and surrounds suicide? Ferrer also recalls the 1926 text itself Biza Baron: "That all suicide carries with it, dark and dormant, the seeds of its final determination is true that no one will pretend to argue, but there is no doubt that the environment influences on him dramatically. " Ferrer
write the life of this suicide. Write times of the life of this writer's suicide echoed in public life, write the moments of the life of this writer aristocrat, revolutionary suicide admires and condemns society. The story of this life, Ferrer, is a way of thinking a biography, a literary and national history. Ferrer narrates this life, rereading certain acts against public visibility, "It was daily news intermittently throughout his life." It is clear that Ferrer is not intended to condemn or redeem the figure Biza Baron. Interest, we are seeing in the succession of pages, is in the public sphere in society that was part Biza Baron, and Baron Mode Biza inserted in it.
In bookstores, said at the beginning, Ferrer reached the Baron Biza myth, the rumor noctivago. But beyond a certain passage in a digression, the book is a tribute to libraries. It is a tribute to Jorge Baron. The first chapter of the book is the story of life, not Baron Biza, but his son, Jorge Baron, author of the novel The desert and its seed. This chapter tells how Baron Jorge Ferrer and known, and how it gives, gives him a large file on your father. Perhaps it was a request that this book was written: "All things mailed to Buenos Aires. He had trusted me. But it was also clear that he expected me to write about Biza Baron. "
Ferrer wrote the book to accomplish what Jorge Barón expected. "He was a gentleman," says Ferrer. And the book has the tone of brotherhood felt. Baron Jorge Ferrer recognized as privileged recipient of his book, which he considers "a report confidendial." If Jorge Baron runs as a privileged partner holding the whisper of the book, the novel operates in the book as a prism Ferrer crumbly texture that loads of things to avoid relapse into linear explanatory attempt to forget the multiple and complex form of the real.
On September 9, 2001, Jorge Baron, the son of Raul Baron Biza, committed suicide, he. Two years earlier he had said: "My father, I want to be disconcerting, my mother, a wonderful human being whom I adore." The dignity of the words of Jorge Barón resonate in the character of a tribute to him Ferrer's book, in its way, it is. Narrating
public appearances Biza Baron, the eccentric aristocrat, the rabid megalomaniac immoralist arbitrary and may be tempted to pen the easy exercise to celebrate the stories hyperbolic and shrill. But the memory of Jorge Barón silhouetted through the entire book as ethical fund, giving it a sensible fleshiness to stories narrated Ferrer. No claims or convictions. Biza Baron's book is both attractive character Ferrer putting on clothes of beggars to the aristocracy of Argentina, as the sinister character that a cold night disfigures the face of Clotilde Sabattini, his ex-wife, the mother of Jorge Baron.
Writing is not anything other than testing a way to tell the story. Any attempt, from prose to verse pamphleteers intimate any reorder the language word that weaves us daily is not anything other than an attempt, an essay, a way to participate in the account of the history of the society of which we participate. Writing is that, and is also much more. Ferrer's book and, among other things that also is a story of national history. And to be so, like any story, in discussion with others. In dramatic tension with others. And this book not only does not hide this be, but it exhibits, as ars poetica, ars policy as: "(had) a television program fragments displaying different events of the century. It was called 'Cambalache Twentieth Century' and its host, Coustarot Tete, a former Queen Square, was dedicated to played down Argentina's history in words and pompous ceremonial. " Ferrer's gaze is clear. The history of Argentina is mostly drama. Ferrer in his book devoted itself to tell it well, confronting in that story boost with the pompous and ceremonial conflict obliterates the mud of history.
In this sense, becomes relevant engagement with writing that reads in each modulation, never repetitive syntax in the original lexicon and lush, and the work behind each adjective Ferrer's prose offers. Becomes relevant commitment is read in the score that turns alternating fluency neobarrosa affiliation: "The macula had joined as a drag." The compromise that was read in the intermittent tension noun which reminds the highlights of David Vines: pithy and illuminating phrases, embedded in the middle of a paragraph as "Miss Southern and Chanel outfits" can not be but a tribute to writer and critic in whose wing intellectuals have formed not just the generation of Ferrer. Commitment to writing, then, as can also be read in the subtle and productive work with literary intertextos become tools for thinking, as you can read in the book Ferrer paragraph beginning "In every age there is bound roads to become acclaimed author, but the excesses that took the 'black authorship' are varied and all personal "when it is impossible not to read, under a mediation Borges, a prose that feeds on the structure of the famous Anna Karenina principle: "Happy families are all alike, unhappy families are each in their own way." In Ferrer, the use of the literary tradition is not a filler or a way back pompous prose. No. The interesting finding work is given an excellent start in a novel way of understanding the world.
Interestingly, also a way of thinking Ferrer swung his story between the succession of past events and bring bring up relics, ruins, which are ways in which the past insisted on being part of this. Thus, it becomes significant that the first place settle the investigation are the used bookstores: "First I looked in bookstores, the only place where it can still be found his work. The submerged continent of the bookstores are crammed with a hangover from another era. Everything leads to its shores, tidal or dropper. Seem to clubs, but they are dilapidated palaces, catacombs where styles and authors wither stranded long ago. " But not only bookstores retain traces of history. For example, after presenting a brief sketch Carola Lorenzini, who in 1940 became the first woman to join the fourteen provinces of Argentina on a flight, Ferrer says, in prayer apart, sandwiched between memorioso paragraph: "Today we remember only one street of Buenos Aires and a stamp. " The gesture is repeated in a programmatic way. In recounting the radical frustrated Yrigoyenist rebellions of the early 1930's, insists: "The only physical evidence of the uprising at the end of 1933 was in a private room Bonpland, a monolith that remembers the names of twelve of the Fallen . A street, a stamp and a monolith: they are ways in which this exhibit its historic sediment beholder with eyes that deny pompous and ceremonial inflections. Ferrer runs, persevering, these modes of narrative history (stamps, coins, ruins). His practice is a choice: to think this the wrong way to rewrite it in the key language that makes politically powerful narrative of national history: the language of a dramatic story, sustained in the tragedy that always lie behind the neat side of contractualism constitutional. Argentina
If history is dramatic, it is also narrate. The story of the narrative of national history, which is a party, in turn, the national history, is dramatic and cracks in intermittent cracks. Cracks that form the history of resistance, on the one hand, and cracks that bore away the story as a chapter officer. The story makes life Ferrer Biza Baron is a prism that rearranges the story, cracking and choosing travel times when Baron Biza elided periods involved, no trimmed narrated the story or hegemonic. For example, we read that "There was a time when the Radical Civic Union was more than a political party, was a national cause and popular. And is the subject of paleontologists. But when the coup happened the Uriburu general in 1930, it was they who took to the street advocacy and Hipolito Yrigoyen. At that time there were many men willing to die fighting on their behalf. They failed, and almost nobody wanted to commemorate his achievement. Baron Biza was mixed in those homelands that make up a lost chapter of the book in the history of the nation, Yrigoyenist uprisings. "
This type of remembrance of social deeds forgotten, both by the hegemonic historiography as collective memory is organized at present, is of particular interest to the text dysarthric Ferrer. Reconstructions and the signs are multiplying into oblivion, "the Moscow Communist Russia would travel Orestes and Vittorio Ghioldi Codovilla, names of communist leaders of the heroic age of the party that no longer interested "or" there was a recalcitrant and dangerous resistance against the government of General Justo Uriburu and has been neglected or forgotten. Very few have been arrested in these turbulent events that took hundreds of lives. "
6 - Paratext and spelled: the story charms strung
At the end of the book we find a last part, paratextual character. Ferrer there is left to the strict gender and forms, but embarks on a critical intervention on the use and marking of the literature on how Index and organize a birthday. The way of the front in Ferrer carries a policy think, be felt in the affection and recognition, is seen in the practice of a more as literature on board for those who ask and empty display of erudition, and collecting in the logic epithets found in the index of names. If Borges had tried to tell two or three scenes life of a man infamous, Ferrer briefly attempted to summarize all the characters named in his book. That covers a spectrum of options ranging from a simple "Getulio Vargas, President of Brazil" to exaltation rate policy "Osvaldo Bayer, libertarian historian" and political criticism "Leopoldo Lugones (son), son of Leopoldo Lugones, torturer and suicidal", through the furious insult to "Samuel" Chiche `Gelblung, journalist Mephistopheles," the indifference front " Menem, nemen "and getting to play nice in" Otto Bemberg, beer and rich "and the humorous stab" Tete Coustarot, Queen of the Apple. "
Shortly before, just prior to the indexes and bibliographies, there are also, of course, "recognition" to those who helped with the work of making the book. In one of them, Ferrer writes: "I remember Micaela Krolovetzky suggested me the art of installing and removing the chapters. " The reference is not minor. Ferrer's book is divided into eleven chapters of significant titles (beginning "The Son", "Father" go to "The potentate" and "revolutionary" to reach "The Pornographer", "The uncompromising"), and each of these chapters are subdivided into short paragraphs whose choppy and assembly give the book its cadence. Paragraphs can be anything from a paragraph to two pages and alternates three different series that are interspersed: the replacement and analysis of Biza Baron's books, the story of life and public circulation of Baron Biza, and recovery, in a tone of digression, in many cases, fragments of the history of Argentina, the European philosophy of the libertarian tradition or who have "been forgotten." The interweaving of fragments
intermittent, brief, they close upon themselves like little gems narrative builds chapter. And the story is the alternation of the three series (the life of Baron Biza, the fragments racconto history and philosophy, the replacement of books critical of Baron Biza) the weighting of the three series of braided and building density the reading experience: history, literature and life are charms that are threaded into the story of Ferrer, joining a constellation narrative, charged with feeling each other in rhythmic dysarthric.
say a good filmmaker must also be a great artist of the assembly. At bar intertwine workforce achieved fine assembly of fragments of the chapters, the book is its narrative power Ferrer, his eloquence and beauty historiography, ethics, politics and poetics.
Notes
[1]
Records are not canonical quarry from which Ferrer like taking material for his book. And perhaps false dichotomy in oral-written log record, the choice of the search is clear. In that sense, not surprising to find on the end of book two tango lyrics dedicated to Baron Biza, whose existence Ferrer said: "A life made of kneaded clay is harder to lose legends sound recording" (201)
[2] Not coincidentally, Ferrer recalls its access to a book Biza Baron: "Someone had given notice that the right to kill was exposed in the window of a bookstore, at a corner. I traveled to San Isidro's party to give the place vaguely implausible. " As a man, say that a place is inversosímil is but an oxymoron, at least a paradox. Like Borges, in the paradoxes of the adjectives you can dig to tell.
[i] Originally published in the journal tevoyaatornillar.com.ar, Number 1, January 2009
[i] Originally published in the journal tevoyaatornillar.com.ar, Number 1, January 2009
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