By Armando Morales Segura
Any profession that is followed by love
after some time seems to be driving
vacuum. Robert Musil
1. The literary way of communicating vessels
Inés Arredondo's writing has a unique place within literary production of the members of his generation. Since the publication of his first book of stories, the signal, the fourteen articles collected here are subject to a unit that paradoxically is held in the diversity of its themes. According to Juan Garcia Ponce diversity Arredondo texts are "... the splendid interior unity of all true writers, those who truly pursue their subjects, because they are presented as an unavoidable necessity in relation to the world and are what actually lead to expression and literature. " Inés Arredondo
not limited to have only a story, makes her stories a real sense of reality, a true understanding of the built world, a thorough understanding of the relationships that weave the characters themselves, with others and with things. In the words of García Ponce "... the argument [in the texts of Inés Arredondo], is never the end but the means by which the artist uses to embody their issues."
This variety of themes, and characters-is where I want to emphasize. To do this I will explore the narrative of Inés Arredondo through a reading of the sacred and the erotic. The theme of the sacred in their production appears literary as a constant dialectic accepts the struggle between good and evil, pure and impure, sometimes cohabiting in the same space, in one body, hardly differentiated, sometimes becomes visible, clearly recognizable as a phenomenon that between desired and forbidden. Yes, the sacred is a constant in the narrative of Inés Arredondo-perhaps most importantly, "this is a way of apprehending the world and reveal." The sacred works arredondianos characters, such as a port to which necessarily have to go. It was during his journey to suffer a series of transformations-sometimes decisive-they throw them at the end of road lined with a series of experiences where sometimes slopes will remain pure, others will doubt it, or even be evident and fend off its impurities. In this wonderful world of contradiction, the characters themselves take us to the paradox theme: the erotic-sacred.
The issue is in themselves, impregnated, cohabiting, like water, seemingly disparate events, hoping the prying eyes of the reader will undoubtedly unravel, will unveil the secrets of the mystery.
During the following lines I will deal with the erotic theme in the narrative of Arredondo, of course, always seen in close relationship with the sacred. For this take two tales of Sinaloa writer: "Hestia" and "Shadow in the shadows", the first part of the signal, while the last one is from the collection of stories entitled The Mirror. Before we begin our journey is to specify certain contextual considerations with respect to the writer and his generation.
work entitled On the waning moon. Life and work of Inés Arredondo, Claudia Albarran achieved literary gathering and disclosure analysis, conjoined with biographical data, all in the same work. However, I will not stop to enumerate the life of our author, only take a few moments to consider transcendent to explain, first, the influence of the generation of Arredondo, and on the other, the passages of his life one way or another literary set the course of the writer of Sinaloa.
2. The generation of the Casa del Lago: a choice in life
Choose
childhood is, in our time,
a way to seek truth,
at least a partial truth.
Inés Arredondo. Amelia Inés
Camelo Arredondo dies in Mexico City at the age of 61. Leave thirty-four stories, divided into three titles: The signal, Underground River and mirrors, plus deep on Jorge unestudio Cuesta, and some essays, notes and articles. Inés Arredondo was a writer who, artistically, learned to choose in life. In this regard, Juan Garcia Ponce says: "chose loneliness and concise work rather prolific output and the noise of literary socialite our country." This election marked
and profoundly influenced the author's short stories, but as I mentioned above, only comment on those data as strictly necessary. One of them, no doubt, was his relationship with members of his generation. Inés Arredondo generation belongs to the group called La Casa del Lago and participated in La Revista Mexicana de Literatura, composed of writers such as Juan Garcia Ponce, Salvador Elizondo, Hubert Batis, Juan Vicente Melo and Jose de la Colina, among others.
The merit of this group consisted in not only brought their own creative work, also broke into the field of critical work on different art forms (cinema, theater, literature, painting, etc..) And, similarly, in the field of translation. Claudia Albarran, the work of this group opened up new avenues of Mexican literature, its thematic and stylistic possibilities, and a conception of literary activity based primarily on the notions of quality and universality. " In short, we can say that members of the generation to which belonged Inés Arredondo not only shared the same interests and desires, but also attended the idea of \u200b\u200ba single critical vocation and a determination to do, allowing them to establish fruitful channels of communication and the foundation of a long friendship that later would result in its constitution as a group. Along with these interests and related wills, there are also a number of institutions and literary publications, largely promoted and facilitate their integration.
3. Reading of the erotic to two texts of Inés Arredondo
(...) and might not run tomorrow and
time for this very shore, where today we stopped.
And the heart and can not
never know if I would have preferred to one that is different,
the one that stays on the other side from where you call
with ghostly voices. Tomás Segovia
Estio
The first of the two texts to which I refer is entitled "Hestia". The story starts in an orchard where an older woman contemplates his son Roman and the friend of his, Julio, who play volleyball nearby. July and Roman are college students, Julio did not have money to stay in college, his friend invited him to stay and live with him and his mother, to continue in school. The two have fun together, go swimming and to movies. The point of the story, and what interests me to address, is the moment when the narrator reveals the strong attraction between the guest and the mother who never gets consummated because the boy discovers that, in fact, the mother wants to his own son and not him. July leaves the house, Roman will study in Mexico and the woman is left alone. The story is set during a summer that is for the school holidays. Start a full day of sunshine and ends in a dark and warm.
At first glance, the theme of incest, which paradoxically is never consummated, is what gives unity to the story, but try to pay attention to the mechanisms that lead us to touch the topic of the erotic, closely connected with the sacred, which in turn is reflected in the texts by way of communicating vessels, providing support and structure to the theme of the story.
Although this story is not totally erotic (I mentioned that the issue is more inclined to incest), we find evidence diluted, acting as an important background. Since the beginning of the story, the mother observes the young bodies of his son and his friend play volleyball. It is, then a hot summer day where "are the interrelationships between nature and body, the extreme situation that almost led to the consummation of the forbidden, sensuality produced by contact with the tropical nature and solitude that pervades existence of women. " Like a symphony erotic the story gradually fills with sensual moments-in-crescendo function as prolepsis that through the language of bodies, the temporary objects of the hints, veiled game, rate urgent arrival of the climax.
The search for the "other" of otherness that the main character will try crossing the threshold of the forbidden, even if only in desire and thought, is strongly supported by the attraction he feels for his son. This is part of an atmosphere that is related to weather and stifling the desire that emanates from the bodies, a direct result of the love triangle, while the mother wants her son, the friend of his mother's wishes . The concatenation of the desire of the characters, the season and create space objects of desire and sensuality, as if the author's intent involves making hyperbolic tone to the already alluring season: "The heat got the body through every pore, the humidity was a burning vapor that surrounded and imprisoned, joining and sealing at a time every object on earth, a land that could not step on with bare feet. "
senses come into play and in communion with the summer, with the desire, transgression, with the mother figure of the sacred. Bataille understands the sacred as the act of "... the continuity of being revealed to those who pay attention to a solemn rite, to the death of a batch." This continued search for the bodies, and therefore of the eroticism of bodies, "is to attain to be in the depths, to the point of fainting." However, within the story in question, the mother is repressed to see the Roman figure: young, attractive, flying over it, "your body is infinitely stretched and hung in the jump was a flight. Golden in the sun, soft shadows on the sand. The body like a river flowing near me, but I could not touch him. "
The route of the erotic, of transgression, desire, emerges and evolves over narrative development of the story. In this regard, the metaphor used by Bataille, in order to recreate the action of continuity in their bodies, comparable to "belong" to the waves of the sea, where they meet their end. Ensures continuity in the body of another wave, all exemplify this story. Already
end of the story, the protagonist sees a night other than the routine: "That night the air was much busier and quite unlike any that had ever known" harbinger of an encounter with the inevitable onset of struggle between pure and impure, which until then cohabited in the same house, in the same garden, manifesting itself through the atmosphere, objects to finally meet in a dialectical struggle to throw the protagonist to "somersault ", the" revelation "to the sacred experience that delve into the" otherness. "
somersault As a prelude to the main character is naked, without protest, without reason, like a sick animal waiting to be cleaned up by the wonder of nature. For Bataille "nudity is opposed to the closed state, ie the state of discontinuous existence. It is a state of communication revealing a go after a possible continuity of being, beyond the withdrawal into itself. " Perhaps unconsciously, the protagonist is opened to meet what seems inevitable, desire, and in July it communicate and share the hectic pace of the chest moves up and down uncontrollably. However, the encounter of the couple is dissolved by the act failed, by the sacrifice of July, by the pronouncement of the holy name. I quote the time in extenso:
... their skin was very close to mine. We stood face to face, like two blind men who aim to look into his eyes. Then he put his hands on my back and shuddered. Slowly pulled me towards him and wrapped me in his great anxiety restrained. I started to kiss, first just as distracted, and then the kiss was becoming one. I hugged him with all my strength, and that was when I felt against my arms and my hands beat the flanks, back quiver. In the midst of that kiss alone in my solitude, that vertigo soft and my fingers to test the torso like a tree, and that young body seemed like a secret river flowing just under the golden sun and blindness night. And pronounced the sacred name.
The image of the river flowing, applied prior to the repressed desire by Roman, his son, goes on a rampage at the touch of the body in July, also the protagonist sublimated desire as she is aware that which accompanies the room is July and not Roman. Finally, everything is solved with the sacrifice of desire given by the boy: "Julio left our home very soon, probably hating me, at least I hope."
Thus, the search for the "other", which is located within the boundaries of the forbidden, represents the idea of \u200b\u200bbreaking the permissible through incest. In fact, the only time where there is an approach of bodies, real eroticism of bodies found in the passage quoted (the encounter of women and July), however, sacrifice the desire of July, supported by the sublimation of Roman figure and presence, is the actual act that allows women to "keep enjoying their purity" and also throw it in the solitude. That is, reach the "other side", remaining totally pure, as at the beginning of the story, but with an inner experience that makes "other." Shadow
the shadows among shadows
Shadow is a story that follows the line of the erotic and the sacred, like the previous text. However, the binomial pure-impure, it is even more evident and therefore more complex, thereby giving a resolution aimed precisely at the consecration of evil, with all its variants: practices sadomasochistic ritual pleasure, death, pain "ecstasy, and so on.
The theme of the story revolves around the loss of innocence of its protagonist: "Before I met Samuel was an innocent woman, but is pure? I do not know. " The boundary between the innocent and pure becomes evident, however, both belong together and intertwine through a series of sexual practices that lead women find erotic pleasure, pain, self-sacrifice, torture, and the path that leads to a single purpose: ecstasy. In this regard, Bataille says: "The response to erotic desire and the desire, perhaps more human (less physical), poetry and the ecstasy (but does truly graspable there is a difference between poetry and eroticism, or between eroticism and ecstasy?) - is instead an end. " In this sense, the search experience so that the character is intertwined with the passion felt by the protagonist for Samuel, which undoubtedly blind reason.
reconciliation between pleasure and pain, pure and impure desire and its limits, through the story completely. The great first impression, and perhaps the exodus of the series of discoveries by rushing through the main character, occur after his marriage to Ermilo Paredes. Although one must consider that the fact the power to accept a marriage with a man she does not feel attraction, let alone being in love, represent in itself an unwelcome impression:
When approached me, I threw with Tibor found a Chinese hand. The ceramic jar was broken over his head and rolled over the crown.
began to bleed from his forehead. I got scared.
-Adulterous, relapsed heretic. Estás condenada a muerte —y sacó de entre sus ropas un verduguillo que vi resplandecer a la luz de las velas. Pero la sangre le cubrió los ojos. Pude llegar a la puerta: estaba cerrada con llave. Se limpió la cara con una sábana, y haciendo una tira con ella se envolvió la frente.
—Esto sí me lo pagarás con sangre —gritó. Yo me quedé petrificada. Me alcanzó con una mano, pero rasgando el vestido pude zafarme, y así seguimos, él tratando de asirme con sus manos, con sus uñas, y yo huyendo, siempre huyendo. Hasta que me atrapó frente a la chimenea. Ambos estábamos jadeantes y nos quedamos mirando con odio. Luego me cogió fuertemente por el cuello y me forced to kneel. "Here die, and to further my fear, with the edge of verduguillo cut all the clothes on my back and sank into my flesh.
The beginning of the road to ecstasy, the urgent search of "otherness" embodied in the figure of Samuel, the protagonist are endless sadomasochistic-voyeuristic experience, perfect triangle, whose center axis is the principal or desire. In this regard, Claudia Albarran marks the similarity between the male protagonists of Shadow in the shadows and other text contained in the same collection, and titled Underground River:
shadow among shadows happens in something like this: Peeping Tom is not only the Samuel-who, as Lotar, is responsible for supplying to Laura that long list of substitutes Ermilo, while enjoying the show-but the reader, viewer, thanks to the chronicle of Laura contemplates (and participates ) actively in the scenes (...), so, by the obvious inclusion of the third, Agnes does contemplate that infernal triangle that began in the signal, when that other Laura (the quince) tried to seduce Michael about the forbidden fruit.
But back to the text at hand, the transgression of evil coexists with Laura and the idea of \u200b\u200b"innocence lost" which in turn sacraliza in the perversion, violence, impure, heavily governed by passion. The couple's sexual triangle and Samuel, each participant placed in various roles, sometimes active, sometimes passive, sometimes just a spectator or voyeur. Bataille writes: "... with (...) erotic activity corresponds to the male participant, in principle, an active role, the female is passive. And it is essentially the passive, feminine, which is dissolved and to be constituted. " However, in the game of the transgression of the limits contained in the account in question, the roles are confused and exchange, leading to a rich range of possibilities that aim to recognize as a single axis Ermilo's love for his wife and the passion of it by Samuel.
At the end of history, the cycles seem to repeat. The death of Samuel Ermilo enables it to occupy the place and role, seeking "new participants of the rite" necessarily young, who perpetuate the triangular ecstasy history
Now I have seventy-two years. He just fifty-nine. I have no teeth, I can only suck and I do not do anything to hide my age, but Sam loves me, no doubt about it. After an orgy in which I quartered, hurt me, meet me its most abject and vicious fantasies, Samuel puts me to bed and spoils me with tenderness without limits I bathes and cares for me as a precious thing.
The search for the other, the road illuminated and marked by erotic desire as a possibility that through literature embodies the internal ghosts that coexist in us, where converge the erotic writings, are revealed in the narratives arredondianas that more than suggest "a possibility of life" are the way that we launch "dares" to the revelation, on the other side.
* August 21, 2006 / Letralia, land of letters
By Rocío L'Amar / Foreword 
For Narcisa Lezano Barriga 
Next November 28 will see the new text of the Real Academia de la Lengua, introducing several amendments to the English language. 
By Rodrigo F. 
By Lidia Gaviña 
not have to be expert. Least have publications. Fans, curious and connoisseurs gather to embrace poetry. Here is an example of how the alternative circuit of the verses attacks with force in Chile. 
By Javier Villegas Fernández 
By Marianela 
by 
wave 
José Saramago, Portuguese writer, died at age 87 today Friday June 18, 2010, at approximately 12:45 GMT, in the town of thiazide Canary Islands. The world-renowned author of books like "Blindness," "The Gospel According to Jesus" or "The Stone Raft." 
For Norton Contreras Robledo 
By Carlos Villacorta Valles 
By Armando Morales Segura 
