The art of the novel is one of the least developed aesthetic spaces in our country, not because there are not novels but because the genesis of these do not correspond to a preparation, forming a tradition for writers .
Perhaps this 'notice' is the basis on which Zein Zorrilla an essay intended to draw attention to something as basic as unnoticed. Zein wonders: Why architect for architectural studies, to be a painter, studied painting, and writing novels is not studied at all? A gray-haired lawyer with many stories accumulated or a retiree with too much free time create time to shape your life in novels and rush to write them, not discuss its right to make, but make no preparation. As the inevitable result will be very encouraging. And worse, perhaps serve as a model for young novelists, eager to emulate the work of the greatest.
Zein's essay, with these bases, build a plea for understanding the art of the novel, the preparation of the writer. This should not be anything new if our country were taught the art of fiction as in the United States, Mexico, Argentina, Spain and many other countries with strict traditions.
But Zein Zorrilla goes ahead and does not stop at the lack of Peruvian tradition, but that studies the causes for which the novel is transformed into the world, no longer the coherent artifact of nineteenth-century masters, thanks modernism, becomes mere accumulation of anecdotes in language experiment in book without plot and weak stories.
therefore causes a novel raconteur not rest in the Peruvian Impressionist tradition, but a global phenomenon that we have taken bad profits. He proposes, as changes in the novel took place in Europe and the United States, English America can assimilate the European achievements to create your own way of doing novels to fiction, not to repeat mistakes and turn this continent into space and unifying advantage of others' experiences for his benefit.
This proposal is not new in Zein Zorrilla, as in previous work proposed a novel autonomous Andean after assimilating the European experience and make the best of them, not to be a true copy or replica fake, and not to depend on European standards but rather a genuine and independent creative process.
The book is rich in proposals and, in a pleasant style and dynamic culminates in an exercise on a story by Milan Kundera. Perhaps worthwhile to emphasize something more than a great editing and a strong thought in this book Zein Zorrilla, and add the style you can be ironic and cheerful, always vibrant, accurate, friendly.
This proposal coincides with a long-standing critical to the university where he teaches literature in the country, because all it does is teach the history of literature, when it should, at least, point to three objectives: creative writing, analysis and literary criticism, and finally literary history. Needless to say that literary creativity is the heart of the race, which unfortunately not taught in universities, but as free workshops by writers (Cromwell Jara, Oswaldo Reynoso, for example) or literary critics (Willard Diaz in Arequipa).
Zein's look at our narrative is, therefore, paternal and criticism. Lanza barbs on the budgets of those who, without having the slightest idea of \u200b\u200bthe novel, asserts that the most important of these is language, and not the story or plot. Your vote for a coherent construction and an appealing argument in the novel, however, places it in an extreme situation, a decision on a particular type of novel and not otherwise.
To understand this last back to Aristotle, to quote from English Zein: "From simple plots (...) the episodic are the worst. Called episodic plot the sequence of events is neither necessary nor likely. The poets of the second frame make this kind of self-will, good poets make it as demanded by the actors: they write to compete, develop the plot beyond its potential, and are always forced to distort the sequence. " This statement is a clear criticism of episodic novels, one of the most famous is undoubtedly Hundred Years of Solitude, by Gabriel García Márquez, and unfortunately much of the Peruvian novel.
I am left with the question. And with the conviction that the efforts of Zein Zorrilla is an important argument in favor of good Peruvian literature. Hopefully not only young people will listen. The commitment is for all novelists.
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