The phenomena of the ghost and the return of the past have an extensive presence in Spanish American fiction. Laura Restrepo in Delirium (2004) and Juan Gabriel Vásquez in Los amantes de Todos Santos ...Lovers on All Saints’ Day (2008) have continued with this tradition and established hauntology (spectrality, the spectral turn) as one of the leading trends in 21st century Colombian letters. Clearly patent in the fiction of Restrepo and Vásquez are the two foremost bifurcations and models of hauntology, a critical approach that gained prominence with the publication of Specters of Marx (1993) by Jacques Derrida. In the Derridean model, the specter (whatever be its nature) is an invisible visibility, the living-on of the past in the present, which makes established certainties vacillate. Derrida calls on us to try to speak and listen to this nebulous presence, to accept and live with this manifestation (exorcism is not sought); the objective of this undertaking is not to discover or solve any possible secret, but rather to learn from this specter, phantom or ghost about the past and the possibilities of the future. These broad processes characterize the architecture of Delirio and Los amantes de Todos Los Santos, and I will explore how this thematic of intruding secrets and ghosts provides fundamentally different conclusions in each work.
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The article offers a discussion of two Latin American fictional historiographies: the short story “Guayaquil,” by Jorge Luis Borges (1970), and The Secret History of Costaguana by Juan Gabriel ...Vásquez (2011). Both these fictional historiographies are intertextually related to Joseph Conrad’s Nostromo (1904), and both may be read as inscriptions of a Postmodernist sensibility, but their respective engagements with the earlier fictional historiography offer very different versions of the relations of story, history, and historiography, highlighting some significant, albeit often-overlooked aspect of their hetero-text.
Partiendo de la premisa de que la propuesta del novelista colombiano Juan Gabriel Vásquez (Bogotá, 1973) se deslinda de la narrativa explícita de la violencia, sobre todo de la denominada ...“narcoliteratura”, y recurriendo en la metodología a autores teóricos como Jameson, Bauman, Vattimo, Chambers y Thiebaut, en el presente artículo analizaré la construcción de la noción de sujeto en las novelasEl ruido de las cosas al caer(2011),Las reputaciones(2013) yLa forma de las ruinas(2015) a partir de la condición de huerfanía, un registro que se deslinda de un estado que tiene que ver con el pasado y con la orfandad por la infancia, para instalarse en el presente y el futuro y definirlo a partir del hastío y la anomia.
This article begins with the premise that the literature of Colombian novelist Juan Gabriel Vásquez (Bogotá, 1973) differs significantly from explicit narratives of violence, especially in so-called “narcoliterature.” In dialogue with ideas from authors such as Jameson, Bauman, Vattimo, Chambers and Thiebaut, it examines the construction of the subject in Vásquez’s novels El ruido de las cosas al caer (2011), Las reputaciones (2013), and La forma de las ruinas (2015). In particular, it understands this construction of the subject in relation to the Chilean poet Jaime Quezada›s term “huerfanía” (“orphanhood”), a condition that arises from childhood feelings and fills the subject’s present life with boredom and anomie.
El ruido de las cosas al caer (2011), la exitosa novela de Juan Gabriel Vásquez, reproduce una cartografía discursiva que históricamente ha ordenado a Colombia según una relación centro-provincias, ...retomando los discursos liberales del siglo XIX sobre población y territorio. Esta división permite una lectura desde el mundo angloparlante que, si bien se aleja de aquella del realismo mágico, reproduce el imaginario de Latinoamérica como una región que oscila entre lo paradisíaco y lo salvaje, consecuente con las tendencias de traducción del momento.
Gender studies illuminate literary production as a discourse representing social imaginaries; in particular, the behaviors resulting from such wordless consensus that determine attitudes, behaviors ...and values in social exchange, in tune with correlates in narrative fiction. The present proposal will analyze the construction of the masculinities in two works by Colombian writers: Cartas cruzadas (1995), by Darío Jaramillo Agudelo, and El ruido de las cosas al caer (2011), by Juan Gabriel Vásquez. Both works, in which drug trafficking appears as inevitable for twentieth-century Colombian society, show the transformation of the characters, not only for their desire for power, but also for the deepening to the extreme of androcentric models inherited from patriarchy. These, apparently attenuated in middle-class individuals that correspond to contemporary urban societies, are exacerbated in the world of drug trafficking, which is recreated in these two novels belonging to writers of different generations.
En este artículo propongo que la estética de la narco novela en Colombia ha sido un fenómeno que ha tenido gran acogida en las ventas de consumo editorial y en la recepción de los lectores. ...Escritores como Jorge Franco en el caso de la narrativa y, en las crónicas Gustavo Bolívar, entre otros, calcan a través de sus propuestas figuras estereotipadas de la realidad. Así mismo, considero que esta estética ha explotado la figura del narco, la violencia en las ciudades y el lenguaje propio de esta representación del mundo. Elementos que hacen merecer la atención en el público para el cual la historia narrada es más interesante en cuanto más efectista. Por el contrario, propuestas como la de Juan Gabriel Vásquez se consolidan dentro del campo de la novela colombiana como un distanciamiento a la tendencia del presentismo propia de la narco novela, cuyo reflejo de la realidad elimina la distancia estética y narrativa por medio de la cual hace sentir al lector complacencia porque éste no sale de sus marcos de cotidianidad.Palabras clave: conciencia histórica, narco estética, novela en Colombia, distanciamiento crítico.
This article analyzes Historia secreta de Costaguana The Secret History of Costaguana (2007), by Juan Gabriel Vasquez. The novel enters into irreverent dialogue with the novel Nostromo (1904), by ...Joseph Conrad, and the history of Colombia's nineteenth and early twentieth century. It tells of the Thousand Days War and the loss of Panama. History and fiction intertwine to criticize Colombia's past. Besides, it tells of the literary creation process. The article uses the concept of historiographic metafiction (Linda Hutcheon). It also considers Fernando Ainsa's concepts about rewriting the past.
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