El centro como ausencia: la memoria en el capítulo II de Los detectives salvajes de Roberto Bolaño
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2017-01-01
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Pontificia Universidad Católica del Perú. Fondo Editorial
Abstract
Este artículo analiza el capítulo II “Los detectives salvajes (1976-1996)”, el cual presenta a cincuenta y cuatro personajes que dan su testimonio sobre los poetas Arturo Belano y Ulises Lima. La ausencia de estos poetas permite que se presenten en la memoria de cada uno de estos sujetos testimoniantes. De esta manera, la narración construye un lugar de memoria para ser habitado por Belano y Lima, que implica una violenta interrupción que se constituye como un rechazo al modelo tradicional de novela, resituando sus ejes fundamentales: el protagonista y el narrador. Así, este capítulo puede ser interpretado como un centro que niega la idea de centro al proponerse como el acontecer mismo de aquello que permanece en fuga.
The present article will address chapter II “The savage detectives (1976- 1996)”, which introduces fifty-four characters that give testimony regarding poets Arturo Belano and Ulises Lima. The absence of these poets is what allows for them to be present in each one of the testifying subjects’ memory. The narration, then, constructs a place of memory for Belano and Lima to inhabit, generating in this way a violent interruption that constitutes a rejection of the traditional novel format since it relocates its fundamental elements, namely, the protagonist and the narrator. This chapter can, therefore, be interpreted as a center that denies the concept of center by presenting itself as the very occurrence of that which remainson the run.
The present article will address chapter II “The savage detectives (1976- 1996)”, which introduces fifty-four characters that give testimony regarding poets Arturo Belano and Ulises Lima. The absence of these poets is what allows for them to be present in each one of the testifying subjects’ memory. The narration, then, constructs a place of memory for Belano and Lima to inhabit, generating in this way a violent interruption that constitutes a rejection of the traditional novel format since it relocates its fundamental elements, namely, the protagonist and the narrator. This chapter can, therefore, be interpreted as a center that denies the concept of center by presenting itself as the very occurrence of that which remainson the run.
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