Publication: La narrativa de Andrés Rivera: poética del pentimento
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2016-11-16
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Universidad Complutense de Madrid
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Abstract
El punto de partida es un dato: la obra de Andrés Rivera comenzó a divulgarse raudamente en la década de los 90, cuando hacía más de treinta años que su primera novela se había publicado y había conseguido el reconocimiento de Ricardo Piglia, Juan José Saer, Beatriz Sarlo, María Teresa Gramuglio, entre otros escritores y críticos destacados.1 A sus 86 años, este narrador, que además cuenta con una prolífica producción, es considerado uno de los mejores escritores argentinos contemporáneos. Esta investigación es también un homenaje. No es necesario seguir el camino deductivo que nos impone el dato, pero puede resumirse la conclusión en el hecho de que el nombre de Andrés Rivera no haya ocupado, en su debido momento, el lugar preponderante que se merece en las historias literarias. Tal vez la actitud indiferente, casi siempre inflexible, y la sincera modestia que Rivera manifiesta frente a todo acto que celebre la obra literaria como un objeto trascendental, contribuya a esta situación. Sus apreciaciones sobre la literatura, sobre la función de toda obra literaria remiten siempre a la idea de que ninguna obra puede cambiar el rumbo de la historia, como tampoco a nadie puede cambiarle la vida después de haber leído un libro de ficción. Nos parece, sin embargo, y nos decantaríamos por ello, que se debe en mayor medida a la conducta íntegra que este escritor mantiene y la honradez perseverante que expresa en sus declaraciones, sin importarle a quién o a qué voces literarias autorizadas puedan incomodar sus tajantes palabras. Esta actitud del escritor puede comprobarse en cada una de las entrevistas que se le han realizado hasta el momento: su ideología es siempre la misma...
Andrés Rivera (Buenos Aires, 1928) was once a textile worker and a journalist and is now a prolific writer whose first texts -published in the late fiftiesadhere to the principles of socialist realism. Almost twenty years later, a considerable turn in his poetics gradually takes place through constant experimentation. There is greater visibility of an intense work with language, forms, procedures, brevity, conciseness, roughness. Despite these approximations to avant-garde experimentation, the political stance in his texts remains. We may even affirm that his later work is more political than his previous one. That is, when Rivera leaves aside a certain visibility of the written word or, in other terms, deliberately exhibits denotation to resort to a careful elaboration of ambiguity and polysemy, his texts evidence a more closely-knit relationship between literature and politics, significantly more problematic. Objetives and results The present study is therefore centered on the analysis of certain procedures that define Rivera’s aesthetics, and whose originary nucleus is based on the relationship between historical experience –always formulated from the different versions of defeat- and literary experience. In this sense, our general purpose is to dismantle the mechanism of Rivera’s poetics constructed through rewritings, anachronism, fragmentation, intertextuality, repetition and silence, among others. All these belong to a writing that is obsessed with historical interrogation, power, memory and autobiographical material...
Andrés Rivera (Buenos Aires, 1928) was once a textile worker and a journalist and is now a prolific writer whose first texts -published in the late fiftiesadhere to the principles of socialist realism. Almost twenty years later, a considerable turn in his poetics gradually takes place through constant experimentation. There is greater visibility of an intense work with language, forms, procedures, brevity, conciseness, roughness. Despite these approximations to avant-garde experimentation, the political stance in his texts remains. We may even affirm that his later work is more political than his previous one. That is, when Rivera leaves aside a certain visibility of the written word or, in other terms, deliberately exhibits denotation to resort to a careful elaboration of ambiguity and polysemy, his texts evidence a more closely-knit relationship between literature and politics, significantly more problematic. Objetives and results The present study is therefore centered on the analysis of certain procedures that define Rivera’s aesthetics, and whose originary nucleus is based on the relationship between historical experience –always formulated from the different versions of defeat- and literary experience. In this sense, our general purpose is to dismantle the mechanism of Rivera’s poetics constructed through rewritings, anachronism, fragmentation, intertextuality, repetition and silence, among others. All these belong to a writing that is obsessed with historical interrogation, power, memory and autobiographical material...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española IV (Bibliografía Española y Literatura Hispanoamericana), leída el 29-10-2015