New PDF release: Kassel no invita a la lógica


By Enrique Vila-Matas

Una extraña llamada interrumpe los angeles rutina de un escritor. l. a. enigmática voz femenina al otro lado de l. a. línea le cube que los McGuffi n quieren invitarlo a cenar para desvelarle los angeles solución al misterio del universo. Pronto descubrirá que se trata de una convocatoria para participar en los angeles Documenta de Kassel, l. a. mítica feria de arte contemporáneo, donde su cometido será convertirse en instalación artística viviente y sentarse a escribir cada mañana en un restaurante chino de las afueras.En Kassel, el escritor comprueba sorprendido que su estado de ánimo no decae al atardecer y que, en cambio, el optimismo lo invade mientras pasea impulsado por una energía inagotable que overdue en el corazón de los angeles feria. Es l. a. respuesta espontánea e imaginativa del arte que se levanta contra el pesimismo.Con humor, hondura y lucidez, Enrique Vila-Matas cuenta los angeles historia de una gran expedición: l. a. del paseante solitario que, rodeado de rarezas y maravillas, se atreve a traducir un idioma que no conoce, participa en bailes invisibles, pernocta en su specific tierra prometida y, fi nalmente, encuentra un hogar en el camino. Desde su terraza de Kassel, este paseante nos invita a ver el mundo desde otro ángulo y desvela l. a. esencia misma de los angeles literatura: l. a. razón, l. a. verdadera razón, para escribir.

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Dijo tercamente:—No quiero” (Obras 3:67) [“ ‘In my hut I’ve got a chest full of money hidden away. Gold coins, and they shine as my ax . . ” (478)]. The disk lacks any material value and cannot be exchanged. For this greedy woodcutter, a representative of the generation and religion that have replaced those of the king, the medal is associated only with materialistic advantages: “Entonces yo sentí la codicia de poseer el disco. Si fuera mío, lo podría vender por una barra de oro y sería un rey” (Obras 3:67) [“It was then I felt a gnawing to own the disk myself.

7 Likewise, Raskolnikov has left his mother and sister in their provincial town to come to live in a St. 8 As if recalling Rastignac’s and Raskolnikov’s student lodgings, Oliveira and his Uruguayan girl-friend La Maga live in “dos habitaciones de falsos estudiantes en París” (11) [“every cranny we holed up during our pseudo-student existence in Paris” (3)] located close to “la zona de terrenos baldíos” (14) [“the vacant lots” (6)], “una de las pocas zonas de París donde el cielo vale más que la tierra” (14) [“one of the few places in Paris where sky is worth more than ground” (6)].

The important point is not where it leads but that it should lead somewhere Fyodor Dostoevsky Borges’s approach to place as a metaphysical and metafictional construct was influential for Cortázar’s oeuvre. 1 In Rayuela the notions of place and displacement converge to underline one of the novel’s major themes: the protagonist’s permanent condition of exile. The blurring of the boundaries between place and displacement begins in the first part, “Del lado de allá” [“From the Other Side”], becomes more prominent in the second, “Del lado de acá” [“From This Side”], and culminates in the third section, “De otros lados” [“From Diverse Sides”].

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