With Enrique Vila-Matas People no longer know what to expect. And perhaps therein lies the condition of its possibility. Literature, just that, no less: a probability condition. definitely. At the expense of, and at the expense of, a narrator who is worried about the scaffolding of an artistic consciousness that can process everything that passes through the filter of the literary – that is, the impossibility of living outside the text – and becomes a reader obsessed with “writing”. Stories like crazy, even leaving life itself in a ditch”. As if that life and that literature were still possible. As if you could write and read at close range.
It will be said Montevideo It is a novel designed by negative and displaced impulse, with the fact that life is always elsewhere. milan kudera dixit- in search of a real author who never existed, and a room of his own with a sealed door whose opening depends on a literary quote in the form of a key. He is a self-deprived and constantly in flight, an impossible-to-catch writer who tries to concoct theories about the end of literature, but strives to lose them quickly.
Let’s suppose. How not to Here you will also find five readers of the brands. Vila-Matas style unforgettable that he had already theorized about lose the theories: constant play with intertextuality, a prosody that touches the lyrical capacities of language with its hands, the search for a utopian narrative, the supremacy of a winning style over plot and the will to build an unshakable structure. literary landscape Then moral warfare This is already known loss.
That writer says he got to Montevideo in an hour. dead end However, it is precisely this paralysis that chains him to the urge to write “that novel with a fine narrative sequence and monologues in which real memories often replace imaginary events.” The work that has already been published and that will come from this narrator can be thought of as consisting of a single unwritten (but thoughtful) volume on the shelves of a non-existent library run at will by an impure madman. Roberto Calasocruzano in some cities described as designing a simulacrum of the here and now, “a flaming tour of mental circuits capturing and connecting distant points in space.” Paris, Cascais, Montevideo, Reykjavik and Bogota. Cities inhabited by a ghostly narrator who shouts to those who want to hear it that “any narrative version of a true story is always a form of fiction, because once the world is organized with words, the nature of the world changes”.
Montevideo bears the mark of confusion under his arm and swears he made it up. indestructible passion for storytelling and quoting and commenting and retelling and requoting and commenting again on what is told and read and commented on in a dead-end loop surrounding the books of the cast that always accompanies a narrator who is hooked on a repeated obsession: “In In by no means in my own way. I’m not writing a biography, maybe some timeless prose, some little notes on life, and lyrics I’ll try to find out who I really am and who my favorite author is”: Vila-Matas? Kafka, Joyce, Sterne, Gombrowicz, Rimbaud, Walser, Borges, Beckett, Perec, Celan, Pessoa, Sciascia, Tabucchi, Pitol, Piglia, Chejfec, Roussel, Barthes, Blanchot?
obsessions
thanks someone write in the middle of the essay with the narrativeher voice Montevideo He combines life with literature and is adept at “Eternal Doubt”, “The Regime of Indecision”, the logic of “ambiguity” and the “enigma” that tries to dismantle history, and at five o’clock narrative. literary trends “those who have nothing to say”, “willfully say nothing”, “who don’t say everything”, “who hope God will tell everything one day, including why he’s so flawed”, and finally, “who seem to copy and record everything” and therefore those who surrender to the power of technology that makes the writing profession expendable”. A trend for each of the five cities and an impossible city quest in each trend.
reader Vila-Matas You’ll notice a family resemblance – and Dylan’s – in this book. yes it is in the novel hamlet It was the discursive framework that was already open, linking tweens that were chained together as a sign of a narrative tone that prevented the narrative voice—and the reader—from capturing the center of the plot. Julio Cortazar and her story prisoner door of the game over. in room 205 Hotel Cervantes in Montevideo Where the journey of no return (which exists and is real) is outlined, and where the narrator will find an exit in the form of an empty hole like Alicia’s, the bottomless door that will allow him to go one step further. and as it has been persistently claimed Maurice Blanchot: to disappear for a living and, above all, to be able to read and write with a gesture that is delightfully repeated in the author’s poetics.
in room 346 Hotel Albergo Romein Turin, Cesar Pavese definitely passed through the other side of the door; in 205 Hotel Cervantes The circumstances surrounding the narrator’s dying wish become obvious: to find the master key to literature’s cursed door, and then risk this gesture disappearing completely and definitively, making the story of a quest that turns into a Montevid party with the avant-garde look. As outlined by Vila-Matas Chet Baker considers his art and guess explorers of the abyss through one of his poems Roberto Juarroz: “Sometimes it seems like we are in the center of the party./ However/ there is no one in the center of the party/ there is a vacuum in the center of the party/ but there is someone else in the center of the void. The Party”.