an event

There are writers who meet at a given moment, and beyond this first appointment there is no reunion. Lives run parallel and separate from the very first moment. I think the reasons will be many and varied.

Let me draw attention to a case of misunderstanding marked by what we might call the textbook syndrome. I have been able to confirm many times that a reader’s life is slowly moving away from writers whose books are must-read or who appear in bold on the page of a Language and Literature book. there is readings or references connected with the obligation and work. If the reader has not lost his way, he flies towards the bright future of the new. It makes sense: we all did, and there are monuments falling into ruin along the way.

With all the intentions of the world, I remember suggesting in various reading clubs to go back to two writers who lived under the weight of the forgetfulness, the boldness of the ordinary reader: meowfrom Benito Perez GaldosY storiesfrom Ignatius Aldecoa. The experience, I think, was somewhat uncomfortable. It was as if the statues in a museum got off their pedestals and started walking. quoting a classic Italian CalvinIt is not the amount of dust that can accumulate in his works, but his ability to never stop telling us something.

From then on, Galdós and Aldecoa were never the same, preparing us for a future where broadcast news will continue to compete to see who sits first. queen’s seat.

The author that interests me today, Luis Martin-Santos (1924-1964), I think, suffered the same fate as the narrators mentioned above. The author of a turning point in the Spanish narrative of the 20th century: time of silence (1962), a book that should have been read for generations, suffered from the mistaken belief that it had already been read from the age of seventeen.

Like other contemporaries, a novel whose paragraphs reflect the grayness and roughness experienced at the time, stands out so brightly for the bold and groundbreaking treatment of language that distinguishes it from prevailing realism, thus stepping into the future. Here are some stylistic habits that Martín-Santos found cumbersome.

time of silence was one Fresh airflow and a crane in Flanders. And there it was, amplifying the expanding tide with a new novel titled. demolition time, when death catches him early. Therefore, we are faced with an unfinished novel. Gutenberg Galaxy now organized with rigor and enthusiasm under his responsibility and merit Mauricio Jalon. The reader should not be deterred from being confronted with an unfinished book. After all, Martín-Santos has left before us not a pile of novels, but a scattering of papers.

In this sense, editorial work became essential by including elements that were not included in the 1975 and known edition. Jose Carlos Mainer. I believe that the publisher’s decisions brought the novel closer to our time without undermining its original foundations.

demolition time forms a diptych with time of silenceWith a somewhat expressive, displaced view of reality, he manages to heighten its grotesque and shame.

Martín-Santos’ recently published work is a story of initiation with a “boy” who is still a judge in a small provincial town, accompanied by the sinister shadow of sneaking. But when this is the basis of the novel, demolition time It flies into a polyphonic discourse divided into several planes or domains, responding to Martín-Santos’s structural and narrative criteria rather than chronologically.

The style and tone are impetuous and resonant. On the contrary, do not be afraid of loaded expressions: stylistic richness stare acuity and slap to default, well thought out. The ambition of the business grows in proportion to the milestone of the business. time of silence.

That’s why this post demolition time It should be welcomed as an event, and I’m not so sure it is. Compared to the 1975 edition, this edition contains a clearly titled text originally by Martín-Santos himself. what i want to tellfunctions as a poetic or statement of intent. Including it seems like the key to an overview:

“A person’s life is not an exact figure. In this respect, it differs from a work of art.”

“But if I have taken up the pen, it is to go beyond accidental, mechanical and formal determinations.”

“Confused words! Even at the beginning of my mission, I feel the inability of language to convey what is important! […] I’ll have to destroy the language.”

“Despite being purely amusical and blind to the beauty of sound, I want the rhythm of my story to be musical. At least it would be like me – out of my ignorance – I imagine musical work is like that. A set of themes, some being repeated and magnified over time, while others just barely begin, leading to absolute silence. falls”.

There is no room for an orthodox narrative structure. This was never in the spirit of Martín-Santos. Musical structure with loops and echoes, novelist’s sensibility. Repetition and silence: work, life. This is beyond accidental, mechanical and formal determinations. This is how literature evolves. Not in the shadow of repeated formulas.

read today demolition time puts the evidence contemporary works those who put themselves one step ahead. The ability to progress has had nothing to do with chronology; The age of writing has never coincided with the biological age.

That is why we have a struggle to free our literary past from stigma, as restorers of old canvases, editors, critics, commentators, prescribers of all kinds, readers. Gutenberg Galaxy he did his job.

‘time of destruction’

Writer: Luis Martin-Santos

Edited by Mauricio Jalon

Editorial: Gutenberg Galaxy

352 pages. 21,90 €

Source: Informacion


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