Among the new narrative strands have emerged in recent years in Peru, is a sort of literary curiosity worth knowing. This current is composed of writers who know very little about Peru, have a right-wing ideological position and definitely have the favor of the media and publishing success. An additional feature is that they treat a common theme expensive for the Peruvians, who presented with profound disrespect and ignorance about the political violence. We
The Blue Hour "by Alonso Cueto and Abril rojo, Santiago Roncagliolo. His background lie in a colonial tradition in texts exude a superb racism, hatred of the Andean world and the spirit of caste that does not want to hide or conceal. Perhaps the most outstanding novel and initiator of this new trend is that of Mario Vargas, Death in the Andes, no doubt inspiring film Madeinusa . No doubt this trend will be further fueled by new novels, and there are many tales and stories in this trend are longer mentioned.
First, taking the novel directly and red Roncagliolo April, 2006 Alfaguara Prize winner (and Death in the Andes Vargas won the Metro in 1993, and The Blue Hour Cueto won Herralde in 2005), the first thing we feel is a funny situation because of an array of confusion about the situation in Peru, especially the Andes, from the novel. And Dante Castro, in his article 'Novel "absolute nonsense violence?" is solace describing the whole sum inconsistencies Abril rojo to refer to objects, events and historical facts the confusion between sinchis, civil and military guard, or when the novelist says a character "looked up" to see a hole ("a hole in the sky?), and finally, some occurrences of that caliber.
Mario Suárez also sports a great time in your note 'The strange case of metallic sandals and almonds Andes' pointing out Roncagliolo legs tucked in, as saying that a helicopter "was going back" ... Finally, although this type of narrative is fun for his profound ignorance of Andean and Peruvian reality (as I had fun with Death in the Andes ), the fact is that their fees ideological move in very specific.
pejorative phrases such as "mourn in Quechua" and "froth Quechua" abound in the text, much more when he describes the characters of the Andes. How Chacaltana, the hero of the novel? To describe it, must go to our unconscious racism or platitude to the man of the mountains. Another character Andes, the coroner, is "a short man and glasses, unshaven and greasy hair." Lima While attending the festivities are blond, white, gay, etc.. This finding is not only a glimpse of the author, is mostly part of the backbone that unifies the narrative flow.
Then we have the following link: civil war, which killed nearly 70 thousand Peruvians, is presented as mere background, like an accident story and not as the matrix of all the events that underlie the novel. War is just a barbaric écran and assigned to groups up in arms, the "walking" or a military person, but never to a government policy. Referring to the actions of 'Dog Cáceres, "the commander said: " Everyone who has seen the hole you made it almost alone. " commander himself to be the serial murderer, for noble causes, such as killing Caceres be "waking up ghosts "of terrorism. In addition, a very naive, or a tautology, talk about a war in which committed acts of "barbarism" as if there were wars clean, beautiful and "non-barbaric."
know that the likelihood is the refuge of novelists since the ship sank Aristotelian mimesis, a faithful copy of nature. Therefore, the implausibility of Abril rojo lies not in the whole previously noted inconsistencies and absurdities, but a structural inconsistency whose outcome is unwarranted. As the novel ends, we could also attribute the tragic deaths in this Holy Week in Ayacucho to any character: the book is anecdotes, deaths and no chain accumulates scenes that are necessary to achieve a consistent final.
final explanations only fed the doubts and lack of plot cohesion. For example, why the priest died Quiroz? The commander says at the end the priest Quiroz 'had much to lose by speaking Cáceres, "but nothing more. There will be an additional argument to imagine or ask the author to write a sequel or a footnote.
I've often thought if I had not been the language in Madrid, during the meeting of Peruvian writer, saying that writers write bad literature Creoles. But now, thanks to this new narrative power (How to call? Royal narrative?) I think it fell short and was shy to extend my appreciation. But it is never late.
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