By René Prieto
Physique of Writing specializes in the lines that an author’s “body” leaves on a piece of fiction. Drawing at the paintings of six vital Spanish American writers of the 20th century, Ren? Prieto examines narratives that reflect—in differing but finally complementary ways—the imprint of the author’s physique, thereby disclosing insights approximately energy, aggression, transgression, and eroticism.Healthy, invalid, lustful, and constrained bodies—as portrayed by means of Julio Cort?zar, Guillermo Cabrera Infante, Gabriel Garc?a M?rquez, Severo Sarduy, Rosario Castellanos, and Tununa Mercado—become proof for Roland Barthes’s competition that works of fiction are “anagrams of the body.” Claiming that an author’s intentions could be exposed via examining “the topography of a text,” Prieto will pay specific realization to not the activities or plots of those writers’ fiction yet quite to their settings and characterizations. within the trust that physically lines left at the web page exhibit the motivating strength at the back of a writer’s inventive act, he explores such fictional topics as camouflage, deterioration, defilement, entrapment, and subordination. alongside the best way, Prieto reaches unforeseen conclusions relating to issues that come with the connection of the feminine physique to energy, female and male transgressive impulses, and the relationship among aggression, the idealization of girls, and anal eroticism in men.This learn of ways authors’ longings and fears turn into embodied in literature will curiosity scholars and students of literary and psychoanalytic feedback, gender experiences, and twentieth-century and Latin American literature.
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Extra info for Body of Writing: Figuring Desire in Spanish American Literature
And, last but not least, is he the miserable bastard that Luis is talking about? Some of these questions have answers, others do not. We will never know, for instance, if the Kid is the miserable bastard, although we are certainly meant to believe that he is, and the whole story is laid out so that we do. One other thing is certain: the scenario of ‘‘Bestiario’’ becomes much clearer when we examine it in the light of our earlier discussion on primal anxiety. It is highly signiﬁcant that this story should bring together the two types of fetish animals that weave their way into Cortázar’s ﬁction: large carnivores and small burrowers.
Isabel claims that the tiger is in the Kid’s study. After making this announcement, she makes a point of leaving the room where the family is gathered together to walk along with anyone who steps out in order to prevent her hosts from inadvertently walking into the room where the tiger actually hides. However, when the Kid lets it be known that he ’s going to the library (where the tiger really is), Isabel makes no attempt to go with him. That she knows the tiger’s whereabouts and has premeditated the Kid’s destruction is made clear when ‘‘she didn’t move at the Kid’s ﬁrst scream’’ (38).
Alasraki is right that we cannot say ‘‘The Kid is the tiger,’’ but this does not mean that we cannot, and should not, examine the clues that Cortázar obligingly leaves behind.