New PDF release: Por un relato futuro

By Ricardo Piglia

Pocas dedicaciones hay tan solitarias como los angeles literatura y –acaso por eso mismo– pocas amistades tan firmes como las que, en ocasiones, se establecen entre escritores. Este libro es el testimonio de los angeles amistad que, a lo largo de muchos años, unió a dos grandes autores, Ricardo Piglia y Juan José Saer: una amistad literaria y un intercambio de impresiones acerca de los angeles obra propia y l. a. del otro. Como cube Piglia en el prólogo: «La amistad establece el modelo de l. a. lectura literaria: cercana, intensa, fuera de todo keep an eye on y de todo interés que no sea l. a. complicidad literaria»; y, sobre el contenido del libro: «Diálogos apasionados, bromas, una maledicencia liviana, gustos tajantes, argumentos arbitrarios, acuerdos instantáneos y diferencias irreductibles.» El libro se compone de cinco diálogos que, entre 1987 y 1999, mantuvieron en diversos ámbitos y foros públicos, casi todos en Buenos Aires. Saer vivía en París, Piglia enseñaba en Princeton (Estados Unidos); cuando coincidían, dejaban de lado lo own para conversar a fondo sobre cuestiones literarias: l. a. herencia de Borges dentro y fuera de Argentina; cómo escribir después de que Joyce, Proust o Kafka parecieran haber agotado todas las posibilidades contemporáneas de los angeles narración; cómo pensar el compromiso político sin caer en el panfleto; cómo articular una tradición nacional sin renunciar a una legítima ambición common; de qué modo cada uno de ellos lee su propia trayectoria, en l. a. que el sustrato argentino se articula con los años de residencia en el extranjero; cuál es el lector perfect de cada uno; qué leen ellos en los angeles obra del otro y de sus coetáneos. Estas y otras cuestiones entrelazan un libro que se lee con los angeles fluidez de una novela y apela al pensamiento con l. a. agudeza de un gran ensayo; un libro que pone al lector a dialogar, en silencio, con dos de las más apasionadas inteligencias que haya dado los angeles literatura en castellano de las últimas décadas. Un testimonio de que hoy –e incluso en ese futuro que propone el título de este libro–, igual que en los textos platónicos de hace veinticinco siglos, es el diálogo, y no el monólogo, l. a. fuente de las principles mejores.

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PART ONE The Underground 2 The Double: Dostoyevsky's idea for The Double No analysis of Dostoyevsky's fantastic realism can afford to overlook his second novel. When it was published in Notes of the Fatherland in 1846, everybody, it seems, was disappointed in The Double', almost all reviewers disliked it, accusing Dostoyevsky of imitating Hoffmann or Gogol, even to the extent of plagiarism (K. S. 2 Dostoyevsky himself was devastated and was soon persuaded that his second was an artistic failure.

S. 2 Dostoyevsky himself was devastated and was soon persuaded that his second was an artistic failure. Yet he stood by the idea of The Double virtually all his life. He repeatedly thought of rewriting it, first of all in 1846, then in 1847, again in 1859, and finally during the years 1861-5. He never did so, although the 1866 version (which is the one we read) has some welcome pruning and is a great improvement on the original. We also have some brief notes for a reworking. 4 Then in the Diary ofa Writer for 1877 he wrote, 'My story was a positive failure, but the idea was quite a bright/clear (svetlaya) one, and I never introduced a more serious one into literature.

Psychoanalytical, models. In particular Bakhtin's discussion of Dostoyevsky's characters - although he repeatedly refers to 'embodied ideas' or 'the self-developing idea inseparable from personality' - takes very little account of desires or emotions either in fictional characters or in writers and readers. Yet we are aware in reading Dostoyevsky, as we are in our relationships within lived experience, that utterances do not simply provoke verbal rejoinders or silences of a rational kind: they also provoke emotional responses, arising from their confirmation or disconfirmation of our subjective selves.

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Por un relato futuro by Ricardo Piglia

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