As Alberto Giacometti's emaciated figures, featuring the voices wonderful Varadero and Havana seem to come from afar. Signs of having gone through a time impossible to crisis and destruction, but remain standing, walking. In its own development appear to account for a movement impossible (and therefore the same as applicable) to back these voices to his illustrious ancestor, "In the silence you do not know, follow, I can not, I will follow" . They have survived the destruction of the languages, the promotion of utopias, the politics of representation, and move under the dual path of cynicism and disenchantment. The problem is that, unable to make the grieving loss, have sunk a long feeling melancholy. Hence it can not be assimilated (Not told) to return again and again in the hallucinatory tales that always denatured (at that spot on the wall in place of a cataract of ways in which the real loss is drained). For these voices will not be the label of neurotic repression, the loss is not made by proxy or by transfer. The voices told by Vanoli are strictly melancholy. Objectify fail at any moment the size of the loss. Are not the place nor the time to wonder what happened (perhaps precisely because it has been , because in fact they still are going ). Remain torn at a crossroads insurmountable claiming for themselves the sight of an open wound between fear (self-punitive) and denial (mania). Vanoli's characters are voices, forms of fiction which inevitably refer to subjective processes of constitution of collective memory to the disaster or trauma. To them it is impossible to think of the immense difficulties that required the fact that be subjective process (even at the level of language) policies and collective historical experiences, even when his own tragic content (resistant to all conscious processing) seems to be a determinable denied a permanent destination. The melancholy that hovers in the voices do come to Varadero and Havana wonderful in a cesspool. In its grim journey translates text and produces a matte that flooded much any kind of hope and despair. The melancholy defines the tragic dimension of the book of Vanoli. Is the wet spot that opens a new wound: the space in which the apocalyptic return and consume the post-apocalyptic fiction.
That is the tragedy of the tragedy that is heard over the voices that make up the fiction and is also the only one would criticize Vanoli, that this post-apocalyptic fiction Varadero and Havana is wonderful turn be apocalyptic. Because if you do not configure melancholy a circumstance, a temporary impairment in the process of grief, and if, by contrast, is presented rather as a permanent dimension of these stocks marked by tragedy whose experience will never reach go through the language, the corollary can not be more apocalyptic: the denial of the tragedy in his tragic condition, the final location of melancholy in the place of experience.
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