Pictured: Mario Guevara, Sandra Bossio, Dante Castro, Christian Reynoso, Enrique Rosas Paravicino, Oscar and Ricardo Virhuez Colchado in Madrid.
The main idea I thought at first is that travel Madrid, for the I Peruvian Congress of Narrative in May 2005, would be a great experience learning. Tucked
7 years in the Peruvian Amazon, traveling almost weekly to cities as distant and diverse as Abancay, Huaraz, Puno, Trujillo, Chimbote, Pucallpa, in short, a number of inland towns, and studying their books, sharing with unknown and unpublished authors, gave me the feeling of walking discovering a world that until recently believed to comprehend and understand: Peruvian literature.
So when next to Javier Garvich and friends published the first issues of the journal Peruvian literature, there was no doubt about our goal: to spread the rich literary output of Peru, preferably those authors invisible to critics and media.
However, from the beginning we had to resist the onslaught of a rigorous nothing Vargas Llosa repeated unbearable monologue: we are cosmopolitan, the form is the most important, give up social problems in the literature, we are submissive to the market.
already in short dialogues with Dante Castro and Walter Lingán, remember the Congress theme "25 years of Peruvian narrative. When screwed Peru? ". Zavalita I always thought the character of Conversation in the Cathedral said so painful sentence was lost not understand native Peru, when he saddled his own evil. What would be more correct to say when Zavalita fucked, because since Velasco feudal world was shattered in Peru and grew one type of capitalism that mixed all types of companies in a salad unpredictable.
Therefore, while searching for bars to celebrate my birthday at the Madrid neat and clean, sometimes seemed to Lima and its old buildings and other merrily copied the 5th Avenue in New York, argued with Oscar Colchado, Mario Guevara, Dante Castro, Sandro Bosio, Enrique Rosas Paravicino and Christian Reynoso on literature that is often hidden away in the press and books for students. The fear was obvious that Congress repeated this situation.
At this point, it is difficult to assess this meeting of writers in general and make the necessary difference. On the one hand, the organizers deserve our appreciation for the great effort made, as a literary activity of this nature would not be possible without a great deal of personal dedication and generosity, regardless of the results and subsequent evaluations.
On the other hand, the quality of the papers presented itself deserves criticism, mainly for its lack of narrative Peru. Misinformation about the different forms of literature are made in Peru are due to different reasons: 1) Poor circulation of the books (the norm is a thousand or five hundred) to nearly 30 million Peruvians. 2) Critical role of the media who refuse to divulge any books that do not belong to the major publishing houses or known rings. 3) Little or no scholarly interest in marginal or non-Hispanic literatures. 4) None of publishing companies to risk by a national distribution system. 5) A critique (including reviewers) inattentive to new aesthetic. 6) Absence of an association of writers who can defend rights and to propose innovative publishing plans.
could add many causes, but it rains but it pours. The irony is that those who "cause" literary misinformation fall into a boomerang effect that will affect themselves. And that was in Madrid, as were several cultural operators (different media) which gave the picture more painful when referring to the Peruvian narrative of the past 25 years.
Congress thus far was a good way to show our weaknesses more than our wealth, to measure ourselves and know ourselves, to precisely target a more ambitious future events. Do not you deserve, perhaps, to hear researchers tell us about Afro-Peruvian literature, or that expands on the wonderful narrative Amazon both indigenous and English, and the emergence of a student of contemporary Quechua novel (I remember now a Macedonian Villafán novel)? Or perhaps without the deep cultural divisions but only literary subgenres, we hear about great storytelling, police or erotic, or someone dares to show us the vagaries of the political novel, the narrative is written in prisons, Peruvian narrative of those living abroad.
The controversy among writers broke out in Lima then only part of the problem: unfair distribution of information, racism outdated and many things to change in our cultural life, to make democratic participatory, inclusive.
There are certainly a lot to talk about narrative Peruvian Congress in Madrid was just the beginning. A great start.
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