By Ricardo Piglia

Formas breves es una recopilación de textos misceláneos que el propio
autor describe como «páginas perdidas en el diario de un escritor». En
ellas reflexiona sobre l. a. literatura, desde los angeles ficción hasta el
pensamiento crítico; desde el diálogo con los autores que se han
convertido en l. a. estela de su obra e imaginario -Arlt, Macedonio,
Borges, Gombrowicz, Kafka, Chéjov, Joyce y Hemingway, entre otros- hasta
los temas más abstractos, como los angeles naturaleza del relato corto o el punto
de inflexión entre realidad y ficción. Este es un homenaje a la
literatura misma; un lugar donde se pone en juego su doble filo: una
ficción que se lee como una verdad apócrifa y un realismo que aparece
como un artificio veraz.

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Download e-book for iPad: Formas breves by Ricardo Piglia

Formas breves es una recopilación de textos misceláneos que el propio
autor describe como «páginas perdidas en el diario de un escritor». En
ellas reflexiona sobre l. a. literatura, desde los angeles ficción hasta el
pensamiento crítico; desde el diálogo con los autores que se han
convertido en los angeles estela de su obra e imaginario -Arlt, Macedonio,
Borges, Gombrowicz, Kafka, Chéjov, Joyce y Hemingway, entre otros- hasta
los temas más abstractos, como los angeles naturaleza del relato corto o el punto
de inflexión entre realidad y ficción. Este es un homenaje a la
literatura misma; un lugar donde se pone en juego su doble filo: una
ficción que se lee como una verdad apócrifa y un realismo que aparece
como un artificio veraz.

Extra resources for Formas breves

Sample text

A hunter can see a buffalo, smell, taste, and touch a buffalo when the buffalo is completely inert, even dead, but if he hears a buffalo, he had better watch out: something is going on. In this sense, all sound, and especially oral utterance, which comes from inside living organisms, is ‘dynamic’. The fact that oral peoples commonly and in all likelihood universally consider words to have magical potency is clearly tied in, at least unconsciously, with their sense of the word as necessarily spoken, sounded, and hence power-driven.

Writing fosters abstractions that disengage knowledge from the arena where human beings struggle with one another. It separates the knower from the known. By keeping knowledge embedded in the human lifeworld, orality situates knowledge within a context of struggle. Proverbs and riddles are not used simply to store knowledge but to engage others in verbal and intellectual combat: utterance of one proverb or riddle challenges hearers to top it with a more apposite or a contradictory one (Abrahams 1968; 1972).

Murko had recognized the absence of exact verbatim memory in oral poetry of such cultures. More importantly, Marcel Jousse, the Jesuit priest and scholar, who had been reared in a residually oral peasant milieu in France and who spent most of his adult life in the Middle East soaking up its oral culture, had sharply differentiated the oral composition in such cultures from all written composition. Jousse (1925) had styled oral cultures and the personality structures they produced verbomoteur (‘Verbomotor’—regrettably, Jousse’s work has not been translated into English; see Ong 1967b, pp.

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Formas breves by Ricardo Piglia


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