Proclaim the reading - The Province



Borges stated that reading is always prior to writing. And it is reasonable that judgment that is a favorite part of the redemption of books. Indeed, that he argued for his Universal history of infamy, a book made up of story essays that came from precise quotations (reading) and from which Borges formed the agreements that resulted (writing).

What is reading? It is the substantial transfer of an individual to the book, a book that does not obtain life without this operation. And that movement is in its entirety, of thought, of sensations, of memory..., of everything. From which it follows that the transition to the other is irrevocable. And hence the conclusion: all reading becomes rewriting.

What is criticism? In essence, what the essay exercise does is administer the principles of solidarity that we have already seen. And that's what it feeds on released. One of Victoriano Santana Sanjurjo.

On what grounds does the author act? With literature and the condition of literature. But literature as an alternative. Hence, what exists is different from the letter. Therein lies the axiomatic agreement: the letter confirms, the letter sentences, qualifies and substance. In that instance it is verified that, being the two worlds in opposite stages, what is written transforms the real. This is how Plato operated, this is how Nietzsche operated, this is how Shakespeare operated, this is how Cervantes... Why? Because they were applied by the instance of the value. Value of sharing, like a labyrinth carved to enter it and go through space in time from the first letter to the last to come out full after sharing the ingenuity that created it.

That is the supreme cost found in this book, and it is found in its most absolute rigor, without games, without renunciations, without distractions, in its most relentless and accurate radicalism. Because its author, Victoriano Santana Sanjurjo, acts like this, purely, responsibly.

Proclaim the reading Domingo-Luis Hernandez


How does the author proceed? By strategy; in all critical writing, the strategy. Victoriano Santana Sanjurjo claims conflicting but supplementary patterns here. In the first place, the subjects of writing to which he refers, be called Emilio González Déniz, Anna Staronibets, Alexis Ravelo... Those subjects are so in their entirety, in their entirety. In order to understand the vicissitudes, I will stop at an example from the book: the First Short Novel Award “Pancho Guerra” (from the San Bartolomé de Tirajana City Council). The lucky one: Javier Sachez García (from Badajoz). The play: loss handbook.

To do? First of all, the author. With this, he puts together in circumstance the express trance that extends from 2003 to 2017. In that state, award-winning short stories, poetry, short novels... Why severity does the essayist stop at it? In the first place, a transcendental fact: the accommodation of the sign to the long journey through the desert of learning; secondly, what unites the author and the analyst: the creation that is not only sublime but impartial, meritorious and complete. So much so that the critic reads that in attention to the protagonist, that other Borges who wrote the "Poem of the gifts": literature is to see, literature is to see. But…? Literally: "In a short time I will not be able to perform any of those three tasks [leer, valorar, conservar el libro]. An illness [la ceguera y…] It will prevent me from reading and understanding what I read.

Literature at stake, literature next to the great game.

What's left? The verification, the acclamation of the substantial. For the author of loss handbook, two books, one that critics hardly consider because it is the book of story essays that gave way to the exceptional fictions Y The Aleph, that is to say, Universal history of infamy by Jorge Luis Borges and the novel that raised the soon-to-be-disappeared Luis Martín Santos to the top, that is, Time of silence. With them the supreme foundation, the establishment that cries out for the clarity of the author and the essayist, the book that is repeated countless times in the pages of Soltadas: Don Quixote.

That is the price, what arms the author. And at that point the analysis of the work, the explicit proclamation in a succinct, extensive, detailed and exquisite reading.

That is the final maneuver. It has already been said: it is impossible to separate from the writing the subject that plunges into reading in the writing, just as it is impossible to separate from the writing the subject of creation by the writing, or what is the same, Victoriano Santana Sanjurjo, so present in his book like the subjects he refers to in his book, to report what he deduces and why he deduces, to declare what he incardinates and culminates and how, for the said value, that which has to be acclaimed. In such a plot, the irrefutable: the aesthetic condition, the high appreciation of what is analyzed in the novel or in poetry, and the manifest meanings of the construction, that which makes the writing accessible to the reader and manifests it in its entirety.

That's what the essayist moves for. For example, in 1, Clio's watch, the orderly proclamation and by manifest parts of the access, accesses with manifest titles, as manifest and substantial are the titles that make up the parts of the whole book: (1) “A principle. Seven notes for seven searches”; (2) "Note 1. On the structure"; (3) "Note 2. On metaliterature and intertextuality"; (4) "Note 3. About the author, the protagonist and the narrators"; (5) “Note 4. About time”; (6) “Note 5. About speed and likelihood”; (7) “Note 6. On space”; (8) "Note 7. On the maxims of a teacher"; and (9) “An ending. About the recipients.

What does Victoriano Santana claim in criticism? Exactly what the novel is: a compendium not only semantic, not only of events but the summary of what manifests it: the functional apparatus, an apparatus in which as many instances of meaning are perceived as those that are held as thematic issues. There the modes, the ways of narrating (autobiography in guide or homodiegesis in Demons, by Dostoyevsky), the structure, the dating of time and space (the chronotopes, Bakhtin), the bearing of verisimilitude, the word in search of a reader or that which the novel does not repudiate, to ask about itself (as Quixote argued ).

What explains Victoriano Santana? I insist: the said literature. Everything from the strict expressive condition that is severely adjusted by the author's excellent training in the trade. Because that is what criticism proclaims and must be proclaimed: a subject gifted to reveal tension with criteria.

That is why the question arises: what does Victoriano Santana Sanjurjo stop at released? In what I already stopped and in another aspect to underline (which was also clarified), the book. With the book, one of the most meritorious adjustments of the text, an act of supreme bravery unusual for the case: the author meets and faces the most illustrious novelty, the latest of the latest. And (I insist) he is not afraid, because one of the most supreme issues of the act is what the great Antonio Tabucchi defended: not being afraid of literature. Thus, in the pages to which I refer, there are elucidations about the newest works by García Déniz (Clio's watch), by Anna Staronibets (you have to look), Alexis Ravelo (A guy with a bag over his head), etc. Here the author urges what reading is and what reading publicly proclaims to reason, to fix, to let see what the personal voice finalizes, singular in the factory of answers with skill.

But this is not the only instance of literature, being (without a doubt) the main axis, the guide that updates. Other factors come into play. For example, that literature is public and agrees to prizes or dissemination. Hence the cycles on Canarian literature in Telde, the elucidation of the Day of Canary Letters or... That at its point as well as the manifest tributes are at its point: Samper Padilla or, in a special way, for what the coming author behaves for the essayist, the fantastic excursus on Cervantes that is “For a farewell to Cervantes”. As I say, there is literature as a seat. And the author takes it as an expert that it is. From where, Cervantes himself and in his time; Cervantes who founds the wonder. Therefore Quixote and why Quixote, from where Quixote, how Quixote. And there all the permissible recreations. The spread of the real with the real, the spread of fiction, the exclamatory spread of the construction of doubles, doubles that are manifested by being far from the aporia that designates them, that submits them, that is, Quixote versus Alonso Quijano.

And in this picture of multiplication, the author expresses what has to be mastered, to verify, what the phenomenon is. Thus, in the first chapter, section 7, he elaborates: "On the search for fame", "On success in a literary creation", "On the difficulty of being original", "On the loneliness of the creator", etc. . Because that is literature. The same as what it means for an author the precise works that corner him (Javier Sáchez García): Time of silence, the Quijote, the magic mountain, The Burning Plain (Rulf), Ulysses (joice), The maker (Borges)… Because that is what literature is (the Argentine pointed out), the coat of multiple patches, the writer now subject to the hundreds of pens that marked immortality.

But it doesn't stop there either. The reflection can be more submissive and open a substantial spigot. Here rests the reflexive condition on the particular that it is and that enters into a concern for the future that the author does not know if it will be completed or if it will be left to adjust. At this point are the “Samples for a sadalonic dictionary”. Forcefulness and precision are the forte. Now, assuming this from the particular, singular condition, from the express condition of author: "Literary animation", "Articulations", "Cervantista", "Cervantófilo", "Literary composition", "Reading composition", "Writers", “Filolojear”, “Reading habit”, “Incompleteness”, etc., etc.

That fixes Victoriano Santana Sanjurjo. There the dawn; dawn in knowledge, in completeness, in agreement, in spirit to determine the wonder, to explain the shock.

And with it the title: Released. One. In two instances: the title itself and what the title refers to.

The term in which the word stops is the verb «Release», which has a precise meaning in Spanish: «untie or untie», «let go or give freedom», «release what was stopped or confined». It comes from the Latin verb release and there is a phrase about it that can help in translation: "Do not rush to leave his presence, nor remain before him in a defiant attitude, because you will do what his face wants." Which determines the verification of "leaving". For one reason: what is left determines the past, the thing that was and separated from being; but (as the transcribed phrase recalls) what is set aside weighs and can interfere with the subject of renunciation. What this release would point to is the reading operation (which is the appropriation of the writing) and that with the critical exposition it leaves the reader, it is released, it is released, to let itself be seen and shared. The question then refers to the assumption of the being that the reading alleges and the receiver of the allegation of the reading. In this case, what is intermediate between the two. In particular, the book, the reading to which one refers and with which the other finds himself. There the crowd of "let go", the "let go" so that another finds; or what the same, author who liberates, reader who discovers. In it the very tune of critical action.

The second issue to ponder is what the title refers to. We come across the one, that is, we come across the first installment of what is expected to be a long path (even a long one) for the author. This is the first time, which announces new attacks. Which refers to what is Released in this manifest instance: reflection in progress. The author refers to this; that proclaims the title.

And all this makes us deduce: an exceptional book, a book that shows what criticism should be and how criticism should be. The text also ponders another essential thing: what is the power of reading and how does reading articulate its power.

Hardened, sincere, direct and substantial book; an extraordinary book.



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