Bariloche (English, Spanish, Paperback) / Author: Andres Neuman ; ; Modern fiction, General & literary fiction, Fiction, Books. Bariloche. Andrés Neuman. Finalista premio Herralde de novela. Anagrama. Barcelona, páginas, pesetas. ÁNGEL BASANTA | 19/12/ Andrés Neuman (born January 28, ) is a Spanish-Argentine writer, poet, translator, First Finalist in the Herralde Prize for his first novel, Bariloche, which was selected as one of the best ten novels of the year by El Cultural, the.
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Skip to main content. Log In Sign Up. The past in pieces: The andrfs of these subjects together with space, movement, nomadism and travel have taken on a previously unknown vitality and scope. Thus, Michel Foucault points out that: Although Braidotti highlights differences between the migrant and the nomad, for example that the former is determined by class distinctions, and the latter is not, as the nomad is: But despite theoretical blind spots, the figure of the nomad is generally seen positively and its position barillche the ability to have a multiple, open, diverse and liberating gaze.
The nomad and at times the migrant expresses in itself the questioning of sedentary life and the illusory stability of identities that not long ago were believed to be fixed. For some theorists the nomad, and other figures such as the migrant, serve as a metaphorical and theoretical model to portray a type of thinking that is dynamic, mobile and deconstructive.
Postmodern Discourses of Displacement Durham and London: Duke University Press,p. Columbia University Press,p. As a result, the polyglot is in an advantageous position to be able to deconstruct identities. In a rather humorous note, the literary critic Terry Eagleton alerts us to the view that: If men and women need freedom and mobility, they also need a sense of tradition and belonging. There is nothing retrograde about roots. The postmodern cult of the migrant, which sometimes succeeds in making migrants sound even more enviable than rock stars, is a good deal too supercilious in this respect.
Bariloche (Spanish Edition): Andres Neuman: : Books
All further references to this novel will be taken from this edition. All translations from this novel are mine. We were waiting seated on the benches of the station, eating apples and not talking. There were few people around. All of a sudden the little car escaped from the boy and ended up on the rails, and it stayed there in the middle of the rails.
At first the boy acted the fool, and stood there hoping that someone would return it to him. He looked at me, he looked at me and I smiled at him but I did nothing, like grownups do with kids, and then the boy insisted, and looked surprised and waiting, and then a loud sound flooded the place, I thought it was a flute at first but shortly the locomotive came into view and the noise arrived with it.
In this case, the passage of the novel quoted above is marked by an anxiety and indecision with respect to his separation from his childhood and previous context. The main character positions the anxiety and indecision on the image of the boy that he sees, but clearly the same is perceptible in the words of Demetrio. But anxiety is not only conveyed thematically, Bariloche highlights the power of a disquieted memory through its form based on a non-linear and disjointed narrative.
By contrast, the protagonist lives alone and works only in the afternoons or nights.
In these fragments, the rhythm of the prose follows the cadence of days spent in solitude. These accounts are interspersed with passages narrated by different people xndres the first person: In an article about the novel, Neuman explained that this plurality of voices is a response to the distinct intuitions that he had had about the plot for Bariloche: Where would I place the story and which voice would I use to narrate it?
The idea came to me in Spain, the country where I have lived and written since my teenage years.
But the rubbish lorries that made the greatest impression on me where the ones I saw in Argentina, and the largest city I knew was Buenos Aires. The action was asking me to place it in my birth city. However, I imagined the narration unfolding in the Spanish in which I expressed myself daily. To respect both intuitions, I decided that the rubbish collectors were Argentinean and the narrator Spanish. That the story would be set in a Buenos Aires degraded by the current bari,oche situation and that the characters would talk in their own dialect from Buenos Aires, while the neutral voice and its descriptions neumn be articulated in a Spanish from Spain.
From this linguistic fracture in the novel that was also in me arose the idea that structured the entire book: The two points that I would like to bariloch out from this text by Neuman are migration and the linguistic fracture, not only as structuring the novel but also as a way of approaching language and literature.
In her book entitled Questions of Travel: Postmodern Discourses of Displacement, Kaplan observes that certain postmodern and post-structuralist theorists such as Deleuze and Guatari amongst others, privilege the benefits of distance and displacement and that by doing so they fall within the versions of modern colonial discourse.
In the same way, for Kaplan the association by Deleuze and Guatari between the nomad, the immigrant and the gypsy erases the temporal and spatial differences between these categories since in the work of those critics: Therefore, Kaplan makes the case for a reading of the migrant, and of migration, subject to history and to the differentiation between modes of displacement.
Bariloche not only is the title of the novel, it is also the locale of the past that the protagonist tries to reconstruct and the geographical coordinates that the text offers in its very first page. In his spare time, Demetrio Rota painstakingly dedicates himself to the assembling of puzzles of landscapes of Bariloche. The pieces of the puzzles hint at something else so, while Demetrio puts them together, the fragments start to reveal the past history of the protagonist. The piece turns thereby into a potential reconstructing symbol of the past, previously a mystery and together with the other pieces, a revelation.
A revelation that is transformed, in its turn, into expectation and doubt in its potential association with the rest of the puzzle. The seductive images of the landscapes of Bariloche contrast with the iconography of the present, of the trajectories of the rubbish lorry and of life in the city.
The images on the puzzles are dissonant with the impressions of the city not only because the former are initially two- dimensional and the latter are presented with the depths of life in the city, but also because what the reader generally sees in Buenos Aires is the rubbish, the blinds of closed houses, cemeteries, the indifference of the passers-by, tiredness, bewilderment and lack of morality.
Rarely is the city presented positively or as dynamic. Instead, it seems that putrefaction has reached every character and every place in it. Neuman reasserts the multiplying and penetrating power of rubbish in an interview published just after the novel. The author explains the subject of the novel Bariloche as follows: Anagrama,p. And about how both end up tangled up, either within a family or a country or a society.
In the end, the rubbish spreads on us, because it is ours, because we are responsible for it, or at least its silent accomplices.
And even if we ignore it, one day it will appear in the middle of the living room of your house. And for anyone to whom meaning lies in the assembly of memory, a truncated reconstruction signifies death. Hence, Demetrio decides to return all the pieces to the toy store and then commits suicide submerging himself in an immense pile of rubbish.
As I mentioned earlier, the author highlights in that interview that the linguistic fracture of the novel is also his own. And Bariloche also revolves around the intention of representing that fracture. Neuman himself explained the linguistic splitting of the novel as a result of his own migration: Anyone who is born in Latin America jeuman ends up partly growing up in Spain, lives, generally, the perplexity of the dialect: Rather than the abandonment of a homeland, the result andees that process is a crossbreeding that does not exclude a culture, indeed, it includes the two.
Neither variant of Spanish is picked, one lives in both. While there is a gradation of voices, and therefore an endeavour to overcome linguistic fracture, the latter is still blunt and evident. With this analogy I do not want to suggest that the condition of exile and migrant are interchangeable.
For Said the exile is conscious of at least two cultures, two places, two homes and this plural gaze enables the exile to see a world of simultaneous dimensions. The view on the migrant in Bariloche is not romantic. The impassability of spaces is evoked in the novel through a past in pieces, which is reinforced in the break-up of images of the landscapes of Barilochethe different times that intertwine and at the same time exist in parallel and even the rubbish that on many occasions looks as if it should be assembled.
Bariloche (English, Spanish, Paperback)
The past stops but is not left in oblivion. Thus, the benefits of the migrant of counting on a double gaze are counteracted by a present lived neiman fleeting forgetfulness and hounding of beuman. I am not trying to suggest here that Bariloche is a celebration of andrws and lack of mobility. I am not trying to propose either that the novel impels the reader to stay tied to roots put down in the old days.
Columbia University PressEagleton, Terry, After Theory London: Foucault, Michel, El lenguaje del espacio, in M. Kaplan, Caren, Questions of Travel: Duke University Press, Perec, Georges, La vida: Page 11 of Remember me on this computer.
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