The first days of the death of a writer
Juan Jose Saer’s writing performs an obvious and, at the same time, a secret alliance between life and writing. Within the framework of a lucid thought on the art of the narration, which somehow implies a theoretical criticism on realism and exploits some practices of the autobiographical...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2010 |
| País: | Brasil |
| Institución: | Universidade do Sul de Santa Catarina (UNISUL) |
| Repositorio: | Crítica Cultural (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:portaldeperiodicos.animaeducacao.com.br:article/703 |
| Acceso en línea: | https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/703 |
| Access Level: | acceso abierto |
| Palabra clave: | Narration Fiction Autobiography Orality Anecdote Relato Ficción Autobiografía Oralidad Anécdota |
| Sumario: | Juan Jose Saer’s writing performs an obvious and, at the same time, a secret alliance between life and writing. Within the framework of a lucid thought on the art of the narration, which somehow implies a theoretical criticism on realism and exploits some practices of the autobiographical genre, Saer constantly plays with the “real” referents of his fiction: the characters, objects, and places. This piece of work explores some aspects of this theory and of this game: the construction of a writer’s figure out of orality (interviews, documentaries, talks), and the integration of some anecdotes in the narration. The anecdote, the genre of brievity par excellence, halfway between the private and the public narrations, will emerge in this way in Saer’s work, and above all in the great narrative cycle composed by his novels, that is in a kind of originalmicrocosm. |
|---|