LOS DE LA LITERATURE CURRENT exodus "(excerpt) exodus CURRENT LITERATURE "(Fragment). BY NANCY FERNANDEZ
Here 
Latin America
A
speculation Josefina Ludmer Eternal
Cadence
2010
Here Latin America. Speculation, the last test Josefina Ludmer melts the great intellectual, philosophical and theoretical distinguishes the author, in a confidential tone, secret sharing the experience (present and past) and its memory. Therefore, the ambiguity between theory and autobiographical notations, which analyze the marks of contemporary subjectivity (the self and collective), is, somehow, the alibi of this book. Thus, the record focuses on the political events of the last '90 'and the look of Ludmer arrested in the demonstration of the sensitivity states, account for a shift, much of what is commonly known as theses and studies, as well as conception of what modern culture defined as literature. If you account for the "Happiness!" That causes each meeting with friends may be surprised in a lucid and wise study of contemporary culture, the subjective state, the manifestation of privacy realize in practice the new use will writing, a framework from which the author is dedicated to looking the world from materials, practices and policies (art, science, media, television, entertainment, technology), new social communities. Arguably, this, his latest book, takes a more radical experimentation with writing, taking gender (criticism, essays, diary) as the raw material of which match the public discourse and private. Far from addressing the cultural products como algo dado y establecido, la problematización ahora y siempre fue en Ludmer, una cuestión de principios. Lejos de posiciones ahistóricas y dictámenes calificativos, Ludmer recorre y distingue etapas asumiendo sin prejuicios que el mundo ha cambiado. Es así que, sumergiéndose de lleno en el presente, va a hacer de las palabras, nociones y categorías, funciones adaptables a lo nuevo, evitando dogmas tanto de las modas como de los cánones del gusto. La década del 90´ y los siguientes años 2000 (momentos de la globalización, del neoliberalismo, las comunicaciones cibernéticas) son los segmentos que le permiten especular acerca de las formas que se instalan en un universo en movimiento perpetuo y efímero, where moving images and words to take shape in the public imagination. Ludmer open entries (read opportunities), and one of its materials is literature whose status is to realidadficción. Something very different to the fictions of the 80 '. In the workplace it is called anonymous and collective works of reality and the process that removes all separation between public and private, speculation, utopian projection of new modes of knowledge, which he thinks (who imagines, who explores, interrogates and speculates) needs to provide new tools and syntax. If "the art of speculation" is to articulate a grammar for the ideas of others, in time and the current space, the utopia of expropriation (as in that first of Thomas More) is completed with the Chomskyan conception of language that functions as a skill and innate mechanisms (competence / performance) , postulating a genetic disposition towards the production equally. Ludmer exposes the paradoxes of reality, whose symptoms or exponents are the new social subjects, born and trained in this age that integrates everything without leaving debris, trash, debris that do not fit into the system (Bauman, Saskia Sassen). Thus, each person meeting (Matilde Sanchez, Martin Kohan, Ariel Schettini, Tamara Kamenszain, Hector Libertella Luis Chitarroni), will be the excuse to think the round trip to the homeland, but also the new territories from changes in the timing and unmediated space for new productive uses. Specular will be images, enhance them in a mirror where concurrency and ambivalence, differentiation and lack of mediation between inside and outside (as a mark of the modern view of the universe), diagram the cultural politics and emotions of today. Then, as the "epistemology of anachronism" Didi-Huberman, Ludmer allows us to see connections and the interconnectedness of mind, in constant movement and migration. Exit the area
specifically literary deny their autonomy while being supported brands of origin who speak out of context (contests, libraries, awards, media reception), means acknowledging the end of a cycle, where the "literature" does not stop postautónomas recognize and use the system that punishes and gives credit for the "visibility" (in terms of Kohan), one that legitimizes from the market and the institution prestige and belonging to an axis or training. Therefore, Ludmer can discern between taste and value, beyond which the latter can no longer operate as a model of acceptance and universal classification. In this regard, challenge the autonomy-and all that is separation of spheres, is to restore things to the common use, without the aura of the sacred, as the concept of autonomous art preserved in some way a halo of religiosity (Taussig, Agamben) .
The scriptures do not support current literary classifications since its meaning is out of reality and make this. Appearing as literature (a book, author, legitimation system awards prestigious award on the basis of the media, contests and other) exceed the membership limited to the realm of reality or fiction. Without metaphor (in the words of Tamara Kamenszain) and arising from the everyday, these "literatures postautónomas" highlights two overriding principles: all economic and cultural reality (constructed from the media, TV, blogs, chat, Internet, e-mail, text messaging) is fiction and fiction is reality (point hinges on the assumption above) . If reality is produced by the media, technology and science, this reality is not intended to be represented because it is pure representation, which includes the subject, the event and its potential. It seems that witnessing the decommissioning of autonomous literature opened by Kant and modernity. Its internal logic and more institutions in which consolidated, now give way to the end of the fields to replace them with the thought of Deleuze's immanence. A loss of specificity is followed by the loss of value in the sense that today the writing loses power and functionality subversive criticism. If the poem "Route" by Roberta Iannamico is a clear example of the absence of tropes and rhetoric, Cosa de Negros, Washington Cucurto presents a narrator's voice where ideology became a deliberately ambiguous element.
After the 90 ', breaks and desecrates the unity of feeling-country-language. It is these voices that they stage the rules of the desecration as abandonment of land, name and language, without transgression but this is a public scandal. The book closes with Chapter "Empire", there where Ludmer analyzed on the stories of migration, the passage of the nation to the language on the relationship between "territory and language, nation and language, exile, language, country and language, and language rule, market and tongue. " The film Bolivia Adrian Caetano, it shows clearly. The experience of playing down the edge of the tongue and the body is that of "tenderness in the open", where you also lose the grammar and communication.
