Juan Carlos Onetti, Manuel Puig and Luisa Valenzuela: by Linda Craig

By Linda Craig

Onetti, Puig and Valenzuela haven't had an identical point of foreign acclaim as Borges, Garc?­a M??rquez or Vargas Llosa, yet they're both intellectually not easy, and their paintings provides a lot to the breadth and intensity of twentieth-century Latin American literature. This ebook starts off with Onetti's first novella, the complicated, fragmented El pozo, and finishes with Valenzuela's Cola de lagartija, an odd, quasi-baroque paintings of darkish humour and strong political overtones. It has separate sections on all of the 3 writers, which stability shut readings of chosen passages with tightly woven theoretical research. the truth that this set of texts is from a selected time and position, the Cono Sur from 1939 to 1983, supplies the paintings highbrow coherence; and it truly is methodologically constant in its use of a suite of co-ordinates from, among different resources, psychoanalytic and feminist concept, from Lacan, Irigaray and Kristeva, that are built-in into the imaginative and prescient of the novels as they're analysed. Onetti, Puig and Valenzuela are seldom seen jointly, yet Craig argues that their universal geography and heritage are the most important, and that those specific writers percentage and discover of their paintings a post-colonial vacancy, a relentless wondering of realism and a love of tango.

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Extra resources for Juan Carlos Onetti, Manuel Puig and Luisa Valenzuela: Marginality and Gender (Monografias A)

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If we were to make a typology of Onetti’s characters we might permit ourselves a primary separation into two groups (as with his master Faulkner): those who ‘accept’, and live their mediocre lives unquestioningly, and those who rebel against their reality precisely because they possess a tragic clarity. In both cases these are alienated beings in an absurd world, but the positive figure of the ‘hero’ is clearly to be found in the second group, in the anarchic rebels]. The cynicism referred to by the author in his dedication and Ruffinelli’s reference to ‘una lucidez trágica’ [‘a tragic clarity’], highlight the impossibility of the protagonists’ task.

Much of the novel is situated within the timespan bounded by this, Larsen’s summer. So that many of the protagonists are depicted in a world circumscribed by their varying reactions to the setting up of the brothel. The major exception to this pattern is, however, Larsen himself. For, of all the protagonists, he is the one whose life is most graphically mapped out in terms of a past which is somehow shown to lead to his current situation. Larsen’s history begins, however, not with some background concerning his childhood or his family life; there is no possibility here of a traditional Freudian reading of his life, relating any facets of his early life to his subsequent behaviour.

Nevertheless, these brave struggles against the inevitable are a major theme in much of Onetti’s work, and Juntacadáveres is a particularly interesting novel in this context precisely because of its plurality of protagonists and of their different actions and reactions in the face of a similar problem. Clearly the most marginalised, and therefore in a sense the most successful of the protagonists is Larsen. qxd 30 9/22/05 8:59 AM Page 30 LINDA CRAIG the novel, but also by the fact that the novel opens with his arrival in Santa María with the prostitutes, signalling his attempt to bring a new order to the town, to broaden its horizons by opening a brothel; and it closes with his leaving the town, again with the prostitutes, his mission having failed.

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