Search

La ensayística de Alan Pauls se funda en un modo de lectura que borra las fronteras entre arte y vida al considerarlas manifestaciones de una misma práctica. En la insistencia en escribir sobre la existencia estetizada de escritores transgresores, Pauls construye una poética de la disidencia que le permite singularizarse en una identidad que se niega a sí misma porque parte de una política que abjura de identidades monolíticas como la que asume la figura del “escritor nacional”. Manuel Puig, deconstructor de los autoritarismos, aparece con insistencia en los ensayos de Pauls: es el ícono especular de su escritura. The essay production of Alan Pauls is based on a mode of reading that erases the boundaries between art and life, considering them as manifestations of the same practice. In his insistence on writing about the aestheticized existence of transgressive writers, Pauls constructs a poetics of dissidence that allows him to singularize in an identity that denies itself because it’s based on a policy that abjures monolithic identities such as the one that the figure of “national writer” assumes. Manuel Puig, deconstructor of authoritarianisms, appears insistently in Pauls’ essays: he is the specular icon of his writing.

En este artículo se analiza la novela Meshugá, del brasileño Jacques Fux, con lo que se busca deslindar los tres principales senderos que se despliegan en la obra: la creación de una figura de escritor, el diálogo con las indefiniciones típicamente contemporáneas de los género escriturales, así como la reflexión ética en torno a las literaturas relacionadas con la memoria del holocausto y la historia de persecuciones a los judíos.

Traditionally, sor Juana Inés de la Cruz (1648-1695) occupies a central place in Latin American –Mexican in particular– literature and criticism. Unequal woman and nun, incomparable poet and “American intelligence”, from the beginning her figure has created a myth around her work that veils or unveils the paths to the heart of her singular literature and also of her tempestuous history. Strangely but not casually, the Mexican poet discouraged more than once those images and ideas in her poems and letters, images and ideas that also correspond with a certain concept of writing and reading. Therefore, this article aims to delineate this problem’s boundaries –the problem of the Sorjuanian myth and the demythification of sor Juana– in order to define the (inseparable) aspects of such phenomenon, namely, the critical reading and also the publishing and establishing of her texts, as well as the idea and practice of literature in Latin America in one of its inaugural moments –XVII century– through one of its most elusive figures: sor Juana.