The body in mind: * "Sarmiento is the first modern writer in our literature." Categorical inspired Viñas phrase refers both to the image of the writer as that of his writing. The reason is twofold. On the one hand because their
Travel (published in two volumes between 1849 and 1851), for the first time in an Argentine book feels constant proximity of the writer. But also because the presence
-making in a spatial and political sense of the term, also the writing itself: the style is distinguished from the gestures of a particular body, palpable. Travel (Europe, Africa and America), they stage write to a body and its affections, overprinted their moods, their passions, their desires, their frustrations, "impulse." Fable and fiction as sharp and Tailstocks exhibit an experience that is itself in tension caused by the unbridgeable gap between the imaginary journey and the journey real.
In the articulation of a similar movement (coming and going of the self to others), uninhibited and unaffected, Sarmiento said scrupulously recorded and their living expenses in a cost
Paper. Neither save nor wasted;
entered in the space of the fable, which the body calls on the situation: clothes, drinks, food, orgies, drugs. Essential to "show" to "Showing off" even "covering" (indirect art of seduction), to "not to show the
gaucherie the provincial" to walk "as an element, like a body without a soul in the solitude of Paris. " The very look of it doubling itself opens and prints, in terms of fiction, the relationship of a body with yourself in your own imagination. Sarmiento is
: trembling, reaching the coast of France; anxious to Guizot, releasing a white cravat, melancholy, through the train window, Ruan leaving one morning, natural, with muscular hard "to Whitman", flirting with girls Yankees likely to "chaste affair." A body speaks, but also breathes, gasps, grunts, grumbles, is stirred, heated, sweating, trembling. What drives the desire, ie barbarism.
But on the other hand, writing their currency semblantea Sarmiento also appropriating the press neurosis. Adolfo Prieto seems to intuit: the frustrated aspirations assembly between individual and social reality, Sarmiento was forced to create a historical, iconographic and romance. It is written in the no man's land that lies between the property and attribution. His adjectives, the spearhead of this writing paranoid that the world has always clearly defined adversaries force the contentious nature of the sentence. His autobiographical writing-Nicolás Rosa memorable pages devoted to the study, continues, with verve sovereign, political rhetoric and pedagogical foundation, was founded a name (an imaginary body) as a city founded on a land donated to the nature. Is civilized. The script is displayed well in terms of a mythical building (the origin) is in the novelistic device of truth effects producer, a construct that fits their verosimilización Borromean knot itself in the overlap of knowledge of the subject, writing, and the reader object. My defense
(1943) and Recuerdos de provincia
(1850) are, in fact, the story of that experience that I aporetic in carrying forward the "novel of self, unfolding and transforming to recount their adventures, their relationships with others, their dominant narcissistic and imaginary.
Narrating his encounter with the other from what is felt in the body itself, be a self-image in the construction of an imaginary reasoned. In this double flex seals the modern precursor of a more lucid writing which is to understand that the "proper" does not occur in the testimonial but romance. Sarmiento books pass through his own imagination in the same way that pass through his own body to get body on it. Condition also plays
Facundo (1946), that part of the persecution which the writer is a victim, and
Argiropolis (published unsigned in 1850), written delusional utopia, according to some historians, under the influence hallucinogens, following the experiences of an admired English poet (for about Coleridge, for other De Quincey). "Being a writer or be a king" in this dramatic crossroads, too, made the banks of the Seine, he plays the sense of one's body and imaginary in the "scripts I Sarmiento." Being a body that is more than a body that can more than a body. A body, still naked, always dressed in tinsel look.
* Published in Journal Ñ, Saturday February 12, 2011. p. 8.
