DV: concerning various generations * A lighthouse with mustaches. A reading machine. Source of inspiration and passion. The living voice of leftist intellectual. A symbol of disrespect. A man who spoke with his whole being, with his hands, his gestures, his breath. David Viñas garnered a legion of admirers, a privilege that is granted to few writers. The reports of Josefina Ludmer, Rodolfo Edwards, Maximiliano Crespi, Tabarovsky Damian, Juan Carlos Kreimer and Maria Gabriela Mizrach, the legacy of old vines multiplies in scenes, phrases and anecdotes that embody a way to fill the space with his body work.
(Boris David Viñas, 1927-2011)
By Silvina Friesen [
page / 1 2, 11.3.1912].
The first one strip of cloth of memories is one of the foremost literary critics in the country: Ludmer. "Vines was my teacher and I think with pride of his oldest disciples. In the '60s every Friday traveled to Rosario to fascinate us with their literature classes in Argentina. Not only because he was a consummate actor that performance knowledge-bent to make "children and favorite servants, ran to the corner travel to Europe, but it was the first time I could see working in their classrooms and later in his writings that I devoured and copied, a reading machine: a perfect articulation between some literature, some ideological, some political and some language. With this machine could explain everything and the world became visible. With him were
Contour South and anti
, some anarchists and revolutionaries, "recalls Ludmer.
mid-eighties, the classrooms of the career of Arts overflowed by the presence of Viñas, Beatriz Sarlo, Ludmer, Ricardo and Enrique Piglia Pezzoni. "In this dream team
, Vines was the number nine, an old fox in the area, always willing to put his verbal thrust in fencing, "says the poet Rodolfo Edwards. "I never ceased to amaze me that made the mess with the words, both in writing and in its 'habladura' but he was always graceful, like a lion emerging from the waters. I felt that in his voice, the words took on another dimension, were transformed into great tongues of fire. Also keep the image of the great Argentine David pose of fighting in the bars of Corrientes. From different villages, vineyards and Jauretche mustache and a passion shared by the country that we always serve as an example. "Maximilian Crespi
(1976) belongs to a generation for whom the name of Grapes "is less a critic than an epic character." The author of
The setback and plot. David Viñas variations criticism that he yielded to the temptation to reread the ten yellow cards in the old disputes or skillfully avoids the assumptions of the book. "I do not look at these almost illegible scrawl the sign of complicity, but a tone, a voice that suddenly I feel a retreat. As its text in the convoluted prose of the critical tradition in Argentina, his monologue makes me elliptical, yet classic, clean, consistent and sharp, and pulled back a puff of smoke a cold evening in the bar La Paz ", compares the teacher and critic. "The raspy voice takes on a nearly solid mineral, progressing to short, weaves a rhetoric of protest, self-assembly-the statement that, paradoxically, the link to the tradition of the public voice in the word liberal," he muses Crespi -. Leaving the area of \u200b\u200bregistration, peremptory voice assumes, in line with their critical, unforgiving with adjectives, their ideological inflection. It's the same voice that bring their books, a voice in action on stage, in the present: the living voice of leftist intellectual who says his role when he commits and promises to return the critical work of political action that role many times resigned in the icy waters of egotistical calculation. "
First of all a body and voice. Some way to occupy the space and installing a speech. It is what comes to mind Tabarovsky Damian. "But for me, I barely knew, is primarily a text. One fundamental. Literature should be defined
Argentina and political reality as an operation for a fundamental rethink each of these four concepts, problem if any. Viñas's talent comes in not paying attention to the connecting point, the 'y'. It is not about building a relationship map between literature 'and' politics, between Argentina 'and' reality, but to understand literature as embedded in a political space, in one motion. The literature does not lead on politics, the policy does not colonize the literature, but works as an operation that generates effects of political-literary, "says the writer.
What will tell the writer and editor Juan Carlos Kreimer happened at a luncheon "viñesco" last year. One must imagine the grim expression, jaws slightly contracted, the energetic mustache ever, sawing the words.
-Zero
condescension, "said Vines. When one gives something to save other situations, then there is no return, just rhetoric.
"He was referring to the juggling of many liberal intellectuals to support the lesser evil. Critical thinking prevented him from accepting that, despite that, it was the best thing you could do, "said Kreimer, together with Daniel Divinsky (see separate article), was sealing the deal to convert to the iconic graphic novel
owners land. "There are dark areas that no speech, he said, well-intentioned it was, able to cover. The rest of lunch, we talked of what we speak, all phrases that tone remained implacable, without missing one. "For the adaptation, Kreimer marked expressions and most representative sections of the text logo Viñas. "Of all the prayers came a fiery dart to the obvious, to those dedicated to the loving relationship between the protagonist and the legendary Miss Singer. That incorruptibility and his courage to say no matter what I thought no one was to be well with their true membership: a headlamp with mustaches. "
Florencia Abbate pointed out that since the '50s Viñas not left at any time to enrich and shake Argentina's cultural life, through his lucid and provocative reflections. "His critical eye, always was deliberately kept in a marginal position to the establishment-entrenched in places such as universities, cafes and of course the books, was incorruptible and became a reference not to one but to several generations of writers and readers, that we share the sadness by his death, "says the writer, graduated from the career of Arts, UBA. "Its ability to generate controversy was a lifestyle and morality. Above all things, Viñas symbolizes for me the power of passion and belief. True intellectuals are passionate people who feel that in each and every one of the topics covered his own life is at stake. "
The old man no doubt, has left indelible marks. Which not only gray hair. "Vines is a symbol of contempt of trade and market criteria to finding success or personal interest, for moderation biempensante, conformism of common sense, to the resignation Abbate lists. I think so, in the 90s, while in the field of literary criticism began to impose a scientistic prose, and often washed-out pose insignificant, he continued practicing the genre into disuse: the trial, which had a rich tradition in Argentina, and from Sarmiento. We also thank Viñas that the intellectual is not a media opinólogos that stays in epidermal levels of analysis, but a person devoted to deepen their major concerns, and thus is able to establish relationships between fields that are often discussed separately, as history political-economic of our country and its cultural and literary. "
Maria Gabriela's voice comes Mizrach broken by fatigue, emotion and pain. As if I needed to take a few seconds to unwind the knot in his throat, moving slowly through the last days of Vines. "Forgive the paraphrase says sadly Vallejo. David reminded the author of Poems
human to the end and jumped the fences of their limited hospital bed with all its metaphors, historical memory, its invincible irony, humor dosed, literary references, their associations colossal. "Mizrach's testimony puts" on stage " these stories that often escape the eye of the reader. "The therapy room resembled a Güemes the boat, and remembered and talked Eva San Martín, the Battle of Caseros, Waterloo, the vicissitudes of the papacy, Death in Vienna by Frank Tallis, literature prior to the forefront Argentina of '20 ", go to the writer, critic and teacher. "Argentina marked its pulse steady, its desperate hope, his hoarse persistence, visceral concern. Over a quarter century he repeated again and again that he wanted to get to the Bicentennial, not speaking from any factions, but from a kind of epic love this land, "Mizrach analyzed. "From the second half of the '80s I wrote, balancing on letters, prayers were held only on the initial of each of the words that composed it. We had perfected in the riddle of understanding. This feeling, deep drawing bridges above all, was what I felt in those dark days. It was impossible that David did not speak, did with his whole being, with his hands, with gestures, with his breathing, his eyes held me fixed. And I said so many things ... "
Edwards proposes perhaps the perfect epitaph for Vines," I never back off, or to make clean and jerk. "
