A pesar de que Ricardo Zelarayán diga que La piel de Caballo “narra la incursión fugaz en Buenos Aires de un provinciano pequeño burgués, marginal y resentido” ( La piel de caballo , Buenos Aires, Adriana Hidalgo, 1999), nosotros nos aventuramos a decir que es mucho más, que esa frase no es más que el esqueleto del personaje, ya que la novela es una muestra fidedigna de un realismo que explota su objeto y no por eso abandona su contexto, no por eso lo encapsula. La piel de Caballo es un trabajo minucioso con el lenguaje while a rodeo, an attempt to define the idiosyncrasies of a city, try crystallizes in Peronism, the tango and the violence of an era. Written shortly after Peron's death, is the harbinger of something black: 1975, the failure of the political vanguard and all what came later.
According to Martin Prieto ( Brief history of literature Argentina, Buenos Aires, Taurus, 2006, chap. XV), the national life to the realistic (and here joins the group Zelarayán Literal) bypasses the representation, figure or the idea that replaces reality, but goes only by the language. Of Hence Zelarayán work with other languages, with fragments, which in turn bring their footprint, its geographical brand, according to Laura Estrin, "the voice that is geography that literature can bring us" (Preface to Lata combed and other writings , Buenos Aires, Argonauta, 2008). Juanito Laguna and was composed of remnants of trash, materials, Chuck has a language, heterogeneous moments combined with strong regional brands with a more formal speech and less colorful: "What do you mean via exit? (...) I was half confused: At this correntino I had put him on purpose to throw your tongue? "(...)" I left policillón umbrella! Do not take me the whore, I will not take her, taco mater, green guts cop "(...)" Well, there in the same office behind the counter where a week before the primary gave me one hard tap callus as a block of marble, I expected the same Cardoso in shirtsleeves and a stub idem who was in charge of typing my last statement ... "( horse's skin)
Zelarayán up your character in different languages \u200b\u200bbecause they understand there is no private ownership of language and therefore a subject that pass through endless speeches at the same time. The narrator speaks more adapted a regional, related to its origin, its youth, to talk as equals with the police, to "enter" the circumstantial world they will live (the station) and transfer the best, knows that bringing out their provincialism get a better deal. But it remains to show that language has a more "polished" when narrating.
This is just a start, the regional language, geographic voice, becomes (in the course of the novel) into a true monument vocal (Estrin, op.cit. ). Comes into play what the author said in the postscript to debts space obsession: "If Reality is somewhere, is in the language. "( space obsession, Buenos Aires, Atuel, 1997). The realism of Zelarayán knows his subject but does not stop there, goes further, looking for a twist of the same, that is what we want to return. Francis Ponge said that writing is unfailingly the proverb claims, which tends toward the object to things that one writes for a future repetition, for future use of that object: proverbial writing. "I think when you write, even if it takes place only a newspaper article, it tends towards the proverb (in the limit of course). It is intended to serve several times, and the limit for everyone, in all circumstances, to win the set when well placed in an argument. Even in a market, which brings up a proverb (when two people argue), which issues a proverb at the right time, won. That's the game. When you write it seems that the bottom is for it, whether you realize it or not. This tends to a kind of oracular quality. But then what are the true oracles? Would not it be something other than just the puzzles, however perfect they were? Do not be objects? Things what always be interpreted in any way? So, want to create something that has the qualities of the object, nothing seems more normal. I have been criticized for tending to the object (...) I think it is in the background so they tend (...) all the writers, whoever they are. "(Francis Ponge, Oral Tentative , trans. Silvio Mattoni, Córdoba, Alcyone, 1995). Writing object, writing usable as the proverb can win a game if used at the right time. Ponge's maxim in his lecture of 1947 was that "it is not to claim more than what is objectively done."
Zelarayán
double the bet when goes beyond that purpose. At times it borrows and builds a voice, as when listening to a drunken conversation, celebrating the event because of its raw material out there. But we said that does not stop at that first step of collecting-constructor (like the example we gave in the previous paragraph) but went further, and that beyond is when you take an object and breaks it, saying, transforms to make another. Taking language as if it were glass, he uses it in all its forms, literature builds small debris that is out there in the city in the country, in the slums (Home Avenue and South Sarandi) a bar, an office, but also of using these waste takes more defined objects (the sayings, proverbs) and crushed and the glass bottle to form another, break the object and makes another. Apparently, something on the order of reality is not what it seems. By far a gift horse but about a runaway horse , something has changed. If the context had to be found in the text, its linguistic traces, horse's skin is broken skin of a speech: "A wild horse is not measured trot," "More Buenos Aires will be your mother! The mouth is you to step aside ... "" There is no worse mute who will not speak! " "I open and gets just as he owned the place." "When there is hunger there is no bread or soft" ( space obsession )
Zelarayán Ricardo's prose is poetry that demands to be read in aloud, and the same work that we saw with the sayings (proverbs with objects, well defined) we also see more confused with the tango. At times it seems that in the novel's voice is filtered Julio Sosa (the milonga between magnates with its crazy temptations ") singing a snippet of Mano a mano (1918):" La milonga between bacanes and the ball in bigs !. " And even more visible with Old Time Tango Manuel Romero and Francisco Canaro (1926) that says "where are the boys then / old bar yesterday / where is / Me and I only stayed brother / me and you alone / to remember / you remember those women / mining faithful-hearted / aura in the dances of fighting / defending his love everyone "," Where are the lovers then, where the love in the open, where campiriño love, scared of the neighborhood? And my friends so fresh ... The tow bar ... Where the Jeta'e Catfish? Where the Chirusita Alcira? And the Reynaldo and Caramel? "( The horsehide)
The novel-if it can call it that opens and closes with an episode of excessive and unjustified violence, at least from the standpoint of the narrative. This is not a minor detail, because as we advance to the top, written between December 1974 and January 1975, just months after the death of Peron. Time in Argentina's history where they intersect the apex of the armed struggle and the threshold of the bloodiest dictatorship in history. Recall that during that year (1975) will be held called "Operation Independence" in the Province of Tucumán, where the company will face mount "Ramón Rosa Jiménez P ER and FF. AA which was already commander in chief Jorge Rafael Videla.
The final scene is a parody of collective class struggle (between the nut and the bus driver) that is supported not only by the protagonist but he is not even understood: hilarious battle is presented as a farce. Nancy Fernandez said Zelarayán, "recalls the first and third presidential Peronist" (Fernandez, Nancy, Cucurto and Zelarayán , in Rev. The interpreter No. 29, December, 2006), Skin Horse say that more than the first and third Peronist presidency (without denying that there are textual references in novel) which is present is the political situation where the actors have changed. So the protagonist says: "How will I have faded the heads of 17!". And Chuck, do not include youth (seeing it as suicidal and utopian) that far from a reform is on the whole and dares to ask the revolution: "A noisy demonstration entered the Irish side of the meadow! (...) And they turned dutifully! (...) The human ants meekly followed his path by the green little camp over there, far away, where waving a red flag and could see a table on the grass with three little men, one megaphone shouting in hand. "
The ideological crisis, national staff and speaking in the prologue of the novel is always present. The figure does not include the political actors who in turn do not understand the social subject. Both Pilar Calveiro in policy and / or violence (2005) as Edward Weisz in The PRT-ERP (2006) argue that some of the keys to understanding the failure of the political vanguard in the 70 are: excessive militarism , lack of policy and inability to understand the social subject. This coupled with the mass reflow of year 75 and the bloody offensive of the FF. AA. Some of this, what will be the prelude to the subsequent genocide, springs innocently Zelarayán the novel: "Suddenly the cries Chirucita. "We will look at Jeta between the two, thin, promise me!" "I told you so," I reply. "Look, lean, if the Jeta appear now, I swear I'd be afraid as if it were a ghost!" Skin Horse
Lukacs said that "a poetry of things , independent individuals, individual destinies, there is not literature. "When we speak of the work done with the Zelarayán object, we take it to the proverb-object, the sayings, the sayings and to a lesser extent to the letters tango as that which is created to re-use and future use, in the same way that creates a glass (Ponge). If for Zelarayán not have mediation or idea that language representation as reality, history in horse's skin is registered enter-break-in that language, such language objects.
Gabriel Curtis
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