by Jorge Quiroga
You had a beginning about scandal in the literature. Could you provide details?
In my story the story's narrative appeared in the journal Center in December 1959 there were more than a scandal. It was a story topic and homosexual acts. First a domestic scandal, for example Rozenmacher Germain at the time fellow student told me that he and a group of friends were acceptable to my story, except that two guys kissing on the mouth. My mind went blank. But the reply should have been that were not just two types, but a fag kissing a bun or reciprocal. Second, the judicial scandal, the process, the conviction for "obscene publications", kidnapping and ban Center. In court, prosecutor, Dr. Guillermo de la Riestra asked the judge to ask me what I deserved I view masturbation as "the most abominable act that could make a man." In the judge's chambers were among males alone, there was the defense attorney, according to which very generously had taken over Ismael Viñas. The judge, wisely, declined to ask me that question. The story also brought me editorial Confusion and loss of the daily La Nación of 17/5/1969, which said that my story, not because it is written could be considered in the literature, as it went over well in the field of pathology. I reached one of the many echoes of the high morality and sound doctrine to police from speaking Nation. I was taken properly and not excessively suppressed.
Can we talk about generational origin, their experiences, their participation in the journal Stroke , his encounter with David Viñas, Oscar Masotta?
In Contour magazine came through Juan Jose Sebreli. My involvement was very little written: a story topic also homosexual and a critique of Judge HA Murena, and my participation program was entirely void or peripheral. Contour was for me an intimate experience, I have here the experience: the discovery of new relationships. With Sebreli rascals were buddies from way back. And David Viñas, with, in my case, mass surrender, adherent, gave me, I think the first of my life, respect, at a time when I was not respectable and that perhaps it was not. Here is another experience, one myself, I was indiscriminately ignorant, rabid, stray, and hoped, without much luck, to desolation, to promiscuity, the underground, to the very strong ease of perversity. It was of course pathetic, what made me even more mad. And Oscar Masotta discovered the pure friendship. We were concerned about both the content of our future work, but of literary success and our future way of being. Sebreli, Masotta and I formed a separate group. There were three primitive indefinite lived in vicious circles, with the ambition to be strong offensive and predators. He was 22. Oscar Masotta said: "If we can not produce works that are 'milestones', then as a last resort to be famous and write a pornographic novel that was that." And again: "We must set a deadline. This will be our cultural project: a forty years and we must have become really clever, beautiful, and crudelísimos cancherísimos. " I added: "And Putis" Oscar laughed.
What Sartre may have had influence in his literary training in his generation?
I think Sartre became exemplary for us because through him we joined and we ran the anguish of loneliness. Personally I discovered Sartre in 1951. I was 20 and came from Emile Zola. Nausea read. It was an explosive revelation. I spent three sleepless nights. He had a motor going in the head. There should be easy to leave behind this vigorous and happy rape. I spent a Medical Philosophy. But this union happened because Sartre we found the most effective means to fight against the enemies domestic literature of the time. Thus, the idea of \u200b\u200bart as human foundation of the world, against the fools surreal, the idea of \u200b\u200bwriting as corrosive imagery of the real, against the Communists, deprived of malignancy necessary for the aesthetic value. And Sartre was also our weapon to beat us in common between us, the contours, the union in the fight to decide who would be the only one that would be new and give the pattern. But it was obvious that the contours L'être studied the Nothingness. The study of philosophy requires solitude, and we, for our age and perhaps national of Argentina, we needed to package it, military together vanguardizarnos, look for each in each other, and this because everyone does not yet know its possibilities and its limits . Thus, Masotta, Sebreli and I were at that time (1953 to 1956), a set essentially fraudulent. To write we stole, recortábamos and copied them. French texts not yet translated into Castilian, and, in addition to Sartre, Merleau-Ponty, and Hegel. Clear that while we should take us a joke obligate ourselves. And this could not last. The paths were different. In the fraudulence Sebreli not disappear, on the contrary it has gotten into the bones and parasitize each other, but also that dishonesty in it began to take itself seriously and this has led Sebreli abject lies in conceit. In Masotta intellectual inability to keep pace with Sartre, especially after the appearance of the Critique de la raison dialectique was a determinant of their folly. Oscar therapy after transfer of the fraudulence and pastiche of "basic honesty" and "legitimacy" of Sartre to Lacan, and found and brandished an air untraceable "contemporary thought." The bitter loneliness that he found death abroad and final disappointment against the nonsense that prevails in the world, just after having been in Buenos Aires between structuralists, semiologists, Freudian and Lacanian, that is, at the time " cancherísima people more intelligent and "with Oscar always dreamed switch in their twenties, we have revealed that the "most intelligent and cancherísimos" are always others and that people who already were and are corrupt or trifle. Still can not read without care, without hassle, its complaint in 1970 by the "teacher shortage" in Argentina and those soft, childish, rarefied, humble to the faint, plaintive "Lacan teaches us," comes to teach Lacan ', "says Lacan." A rueful self-righteousness of thanksgiving: "'Us' and 'Lacan': we are not alone, there is someone, Lacan, who addresses us, makes us 'us'." But in truth we were always alone. To no one said and taught Lacan. After the disappointment foul of the "most intelligent and cancherísimos" dull and quiet solitude, and was returned to Masotta death.
Can you talk about her literary silence from his story punished until the appearance of his novel The reports of Felix Chaneton ?
My literary silence from the story and the process probably due to various reasons. Perceive the best I can tell you first fear came over me after my own surprise at the relationship of others, not all, of course, but those who call "authorities" or "power." I was "disgusting", the "end of degradation" and I seemed to emanate from the "disturbing bias and contempt", the "dissolution of republican institutions" and so on. In a second reason we can comfortably include all forms of literary impotence: not knowing what to say or how to say, disgust myself as a writer, feeling alternately above or below my own writing, etc. And a third reason, perhaps the most powerful, is that I, as Masotta, I sought to leave the fraudulence and move to the "seriousness." Intimidated, I tried to achieve some merituarme institutions and legality. Cloisters me to study philosophy and finish the race, then I should meet me and be a teacher. This should be the official side of my life, that I would forgive this "aberration", but I cunningly reserve me a hand "destructive", not the silliness of blood helarle bourgeois one, but to draw from the latter side maximum literary force. I graduated and began my teaching career at the same Faculty of Arts with my wife and companion Marta Brard. And this was also statistically normal and even respectable. Then in September of 1974 I was laid off for political reasons. I then make literature, with, among others, two long pieces: an autobiographical novel and a philosophical essay on Roberto Arlt.
What is the specific place occupied by Roberto Arlt in their concerns?
I still can find ways to dig in and build a sense of their culture, do not tell "writing" or "literature" - from the violence and arrogance. Arlt from and know that so far no culture of Argentina can not begin to be exercised if the element of oppressive violence and arrogance. And that any response to this situation must establish and practice the culture through counter-violence and contraprepotencia. Against cults necessarily violate us and grow us necessarily violent, we are not educated or otherwise we will not do another culture if nonviolent prepotenciamos our time. The cosmic pain and the neat trick of taking upon himself the man's crimes are the lag that violence in misery took Arlt and turned it into an impossible man and real simultaneously, a man who could not live a moment, and a man not only impossible, but that charge was consciously (poisoning) with its impossibility. Since my novel The reports of Felix Chaneton would show any "culture of Argentina", I should go to Arlt, who we reported that the secret lies in the culture of violence. From Arlt Arlt looked at by my novel. But it stands as Master Arlt. You learn from it, yes, but, in addition to this openness, you can only try to be Arlt, and hold it in disgust and facing death. And to be Arlt I started to be yet another me, another self that is a character in my novel and my called Carrera. Race For me, even left in a vision to be studied (treated) for future breakers, the easy mutual eco-Belts Carrera. Although I also race is worse that I can not be, and Chaneton-Master which should be initially repulsive to end up being not loved by you, the listener or reader, but whom should you turn in your time of distress and anguish, is the best I could invent.
In your novel is clearly expressed an attitude toward literature. What would such an attitude and what it means destructive literature, and through the prologue is announced?
For now I'll tell you my story, as I saw it published, I left and I kept leaving an impression of anachronism in all aspects that come to mind. And although I do not dwell on my thoughts, reasoned that this anachronism would respond to a delay or time-consuming dragged its feet or philosophical meditation. If atheism is "a cruel business and long-term," according to Sartre, no less cruel and long is to become materialistic, and I think I've just started on it. A materialistic attitude before the first literature places literature as violent struggle: against the scabs and decay of idealism inculcated in oneself and others. It's just destructive literature: the writer who seeks to make culture, not merely defend it or catch it or amend it, he knows he has not made good literature if your book fails to destroy it at its finest, intense adaptation to the world established. Only if it passes that test, the writer can aspire to a destruction Similarly in the reader, and you can happily and safely pontificate right. Very good revulsions, solvents, relevant provocations, beetles, terror, attacks and matched with silence, and with the mockery, atrocities, virulence and questions about modes of annihilation or appalling degradation can be found in Arlt. This man loathes his time less than himself, and his time was no less warlike and genocidal ruinmente than ours and we are not barbarians dirtier. Only a culture is not if it is not enemies. This, and our enemies know it is becoming necessary lesson to the enemies we should be. The procedures of oppression and humiliation are not "alternative proposals" are practices that constitute social realities Argentina society exerted itself and indeed from and the institution (say the words as old and as present as the object designated by it) bourgeoisie as ruling class is known and is confirmed "love of history." And our age, dressed in the latest "military dictatorship", is also retarded state of intellectual decay, it must be admitted, is at once political. We are therefore forced to conclude that military policy has succeeded, internally, and this win is the "official mind" and the present government. In fact, our military has managed to trick his enemies and natural enemies, a former intellectual critics of society, but now official, who have been insane or have raved and make them confess that they have received the punishment was deserved, or that the left incurs very poor in "maximalist" creeping intellectual term for what our military and editorialists donkey brutal call, more dignified "extremism." Are the effects of numbness of the depressive period seudopaz in pseudopostguerra also. The current ruling party, its candidates and winners temporarily postponed, the intellectuals "autorresponsabilizados" who support or are resigned to them, your wording ... are at the most overwhelming. They are now completely ubiquitous. They are the misery of the culture. Successfully made or left to find and lay everywhere and heavy viscosity: combine the depth of the stench of who is too tired and too hurt to be dangerous and an unflinching look foolish, true hard-boiled eggs fifteen minutes of cooking, blank stares , minor works, perhaps monstrous, but of only local interest. Never in the history of Argentina, there must be marked so strongly the presence enmerdamiento has arisen. It also assists us here Roberto Arlt and sample waste and landfills of our society. The dump Roberto Arlt is also embodied in a garbage model for us to understand loneliness through their specific waste. Of course there will always be rejected all "miserabilism", the "mere death or misfortune." Arlt is by no means a writer miserabilist.
Arlt His book about what would it mean for the criticism that has been written about this writer?
Arlt A vast unpublished and therefore there is no full Arlt. My work tries to systematize Arlt philosophical about some of his work. I argue that if there is not all Arlt Arlt. But there is still no all Arlt. My book only formally resembles that of Larra in that study Arlt in his novels, short stories, drama, Etchings, and in his contributions to the humorous magazine Don Goyo, in some of their stories last to World and in several his tales of The Home and not included in books. But I depart, without interest, the good natured intent Sunday Larra and style subsequent to reading or browsing the children's supplement newspapers. Diana Guerrero and Arlt Masotta considered to only some aspects of the narrative. It is abhorrent thesis of the first over petty ideological discourse underlying the work of Arlt, simply because Guerrero did not investigate Arlt's work, so the argument lacks evidence. Behind the book is the Masotta Saint Genet Sartre, in addition to the "prose of tones" of Merleau-Ponty. It is an expressive test, but rather confused and extremely meager and barely spreading what amounted to understand Masotta sauteed and conjectural a reading of only a third of Saint Genet, which I know because I loaned the book in French. (It was, yes, an offshoot of the fraudulence, but now I think if there will be one of the most valid for readers.) So, my book is intended to mean Arlt, a forced passage, a reflection materialistic totalitarian (ie Here, philosophical) on the part of the work of Arlt. I think I go on all the previous criticism, and, quite separately, to build a new Arlt by which we Astier, Erdosain or Balder. This "being" I tried to show in my essay. We are the traitor, the thief, masturbator, fraudulent, murderer, suicide, terrorist dream, the engineer himself disgusted bourgeois and seeking escape from bourgeois status by dotage and submission erotic women barking, or we reached sterility sacred "failed writer" or we are also one of "the beasts", which is the most beautiful and powerful myth created by Arlt.
What new jobs being prepared?
Prepare a series of four short nouvelles, which worries me as much. And for that I distorted but not disinterested myself or my work. The reader, of course, is our patron, all done for him, or rather, he may have something as a whole. But perhaps, this is already the joint work of distortion and interest, rather than seek new, would have to invent and impose another meaning of "form", or destroy and delegitimize any issues about the "form" or that how is the content our reflections. O "form" should acquire a deeper meaning, but ultimately it would be but the meaning of life. The obvious thing is that it is crucial to ask how to write, "but no more obvious or more inevitable to wonder how it be? or how to live? But the added fatal is how to write to be read and searched and pursued by the reader? Otherwise I hope contrive situations or literary episodes that are at the height of inhumanity acting Argentina. I would suffice with a reader or readers who are persuaded that it is unnecessary to Argentinized inhumanity. And I'm writing a polemical essay against phantoms Argentine writer specializing in providing the most influential doctrinairism the service of war against subversion. For now it is not naming. And work on my philosophical treatise. I am not free until I finish it.
This interview was conducted in 1985 and published in the journal rabid toy , year 1, No. 1, November 1990.
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