the talking point source of nourishment AND THE STORY OF "THE OBSCENE BIRD OF NIGHT"
by Sergio Pereira Poza
The world of The Obscene Bird of Night by Jose Donoso, appears conditioned by a truth which has its seat in the consciousness of the character-narrator. The Dopey is the story itself from which everything emerges and everything is refracted. Nothing exists outside the inner images shaped by the creative will. The novel is the realization of a great idea obsessive who plunges into the squalid, where quacks the obscene bird of night, where the roots that feed the dirt, useless, obsolete. Is a titanic effort to surface that transforms the established reality into a nightmare of secrets and nasty signs.
The novel is a constant dialectic between the conventional order and the dark underside of the world. The latter denies the uniqueness of things in order to demonstrate that one and the other is the same. Good and evil, beauty and ugliness, the master and servant are not realities but rather different views at different levels: one superficial, the other unconscious.
This immersion in the back of things has its point of expression in the human mind, in the depths of his psyche, known of his life, but shunned, isolated in an order accommodating. The Obscene Bird of Night explicit the hidden truth through the character-narrator. The Dopey learned to move at that point of darkness.
The novel is the symbol of the destruction of the "horrible myth" of the unity of human being thereby destroy a way of life, a pattern of behavior and behavior that forces the subject to start again, getting into the thick and misty forest where it nests the obscene bird of night that Henry James speaks in the epigraph for the book.
The Dopey stands, then, in the center of the narrative universe, universe disjointed, segmented, disjointed, accurate reflection of the disintegration, targeting and dismantling of own conscience.
This seems particularly relevant because the world represented just a reflection of the will, introduced his signature look that transforms beings tax fictitious characters. Self-
not as an individual unit of obsessive images dyed his mental universe, fearing always be dismissed by the abject terror felt by the non-existence, physical and spiritual destruction. His story translate those terrors, distorting events, falsifying data, fitting the legends and myths, alienating and over again, suchas way to resist external constraints. The Dopey is, to paraphrase what was said by Donoso "A person shall not be thirty or a person or thirty." (1)
the talking point of the narrator PROTAGONIST
control of the narrative rests solely in a voice that corresponds to that of Dopey, the creator and promoter the whole story. The frequent allusions to circumstances, time or people outside it are for fabrications and recreation that have their seat in this voice. The narrator's discourse moves through areas at the end, are converging, as there are in his story a number of elements that are true milestones in a story that unfolds in either space or time, but remains fixed one of the convolutions of his mind. The presence of Nanny witch or the myth of imbunche acquire form and meaning in different situations and far from those stages mentioned, although subsidiaries are not anything other than the transcript of those. This is the case of Peta Ponce, the yellow dog, the House of Chimba or La Rinconada.
This is a cyclical story that revolves around its own axis narrative. The image delivered is the sum of experiences accumulated by the narrator throughout his life and which are reflected in the context of history.
The whole novel is the expression of this desire Dopey instigator of raising and destroys both escastilladas realities of narratives that overlap or intereliminan, under a constant game of juxtapositions and disjunctions. The narrator appears as a creator of the world, boosted by a constructive and imaginative intention of his speech.
A raid point, in our view, it is crucial to control the sector from which the narrator builds his story is one that relates to the configuration of a speaker. That moment occurs when the receiver joins as Dopey confession Mother Benita, character present and mediated by the words of the narrator. While the image of Mother Benita is superimposed in various narrative fragments of the work, it does not belong to the story at different times but are linguistic signs that remind us a partner apostrophizing involved in fictional form at various levels of confession.
This specific time and everyone else have their origin in this confession is not so in the strict sense, since the speaker has no voice. However, the confession exists in an area which exceeds the boundaries of the narrator's mind.
From Chapter Nine, the characters, stories and moments counted, anticipated or interviews in the narrative, are revisited in this confession, and to perfect them, relate them or organize a narrative. The most interesting case concerns the existence of Azcoitia Jerome. His name and his figure has gravitated in the fictional universe without assuming the quality is still character represented. Sufficient for the fabulous powers of the sick mind of Dopey link him to certain circumstances of his previous life to Jerome conferring the right to exist as tax character. Dopey
The confession belongs to a time of acute crisis, which makes his story in a speech stunned in which reality and fiction make up a new dimension to the world and whose most characteristic mark is that of a mutant and changeable existence. The narrator's voice will be split into as many identities as they are psychic compulsions to be pressured. The Dopey is also the seventh old, Boy, Jerome, papier-mache head. The labyrinth image La Rinconada is connected through tortuous spaces with the House of Chimba. Inés is Iris, Iris, Inés. It is a game that seems endless, at least until the sick mind of Dopey, generating reality, determines otherwise.
fevered consciousness is this based on where the story starts in The Obscene Bird of Night. His talking point is located within this chaotic world that is the psychological reality of the narrator. All vision is structured according to these particular facts, but of deep and decisive influence on the way to capture the world. The story weaves through these events that take different forms and identities, as information that the speaker intends to deliver, at times it is through their own voices during conversations captured by the servants of the House of Chimba or inhabitants of the Rinconada, others transported himself to the material spaces which only accessed through hallucinations. Amid this morass, apparently broken, there remains, however, this inner voice who should be the arbitrary configuration of reality, and responding to the intervention of a number of motivations that fuel the twisted imagery of Dopey.
Within these motivations, highlights and essential form of Humberto Peñaloza childhood, with the full spectrum of hopes frustrated, and the underlying presence of the board and myth Maulina chilote of imbunche.
These three factors are those that, in our view, constitute the worldview of the narrator, appearing first as the support to live the story, while the remaining two are merely triggers a complex imaging equipment. He uses these mechanisms to be mythical elements that lend themselves to revenge, destruction and self-annihilation.
HUMBERTO CHILDREN'S INCREDIBLE AND YOUR BACKGROUND EVOCATION
Dopey
The story of emerging from the frustrating circumstances that surrounded his childhood. Aware of his inferiority and an existence without horizons, his soul was resentment brewing which intensified in the same way that their efforts and desires of the father went crashing to the hard practical reality. Nothing can push it to exceed the insignificance of its origin goes back even to their own family tradition. Sought desperately to be somebody, replace the ridiculousness of his surname Peñaloza defined by a face, bright, smiling, no one could help admiring. Was the goal to his father, without requiring, had put before his eyes, because the coarseness of his name would force him to live as long locked in the prison of plebeian name. " Was that the only way it would under cover of anonymity. Humberto was carefully what his father, in his enthusiasm release, informing him of what the newspapers say of those important people. In the imaginative consciousness
father had a great deal of optimism idealizing that induced him to ascribe virtues Peñaloza, as an adult, he discovered that they were just fabrications. He, in turn, learned to admire from afar Olympic greatness radiated important man, either through the passage of cars heading to the park or through morning walks through the main thoroughfares of the city.
felt nostalgia for the poise, dignity and elegance of these attributes, he could never have. For that reason, learning was subjected in childhood had no inheritance to awaken within them a painful sense of nostalgia against the unattainable. And that ability to overcome what is offered Humberto unattainable by following the gaze of the father "a man, tall, burly, but funny, very blond hair, graceful looking for something that I interpreted as an elegant disdain, dressed as ever I dreamed that no man dared to wear ...". That vision and passing the contact-Jerome by his side one of his gloves touches his arm gently opens your mind a hunger anchovy not ever heal.
The narrative mode used in this passage reflects certain characteristics that appraise the importance placed on this piece of his previous life with the context of the novel. The episode is told from the perspective of memory and appears devoid of ambiguity and the twist with which they have worked other times of the book.
contrast manipulation as primary narrative mechanism, is the clearest sign of the dislocation, the image, delivers the world represented. It is important to emphasize, first, that the revival of the past in his correspondence with this point, from which presumably generates the confession of Dopey, is marked by the significant presence of spring and winter. The childhood experience of Humberto is evoked in the springtime with all the burden of hope and longing that implies. "But it was spring," the narrator says, contrasting with the poverty of his father, however, the confession itself is framed by the vision of a "rainy night."
where the contrast reaches its true and full expression in the narrative is repetitive use of antithesis in the form of parallelism, naked reality of the incident, restored the level vain and grotesque imagination effusive rose to the level of father the fantastic idea. We read several excerpts of the speech contrasted realities which reveal the root of the conflict of Humberto, which connotations and ramifications see crystallized in the hallucinatory world that creates your mind out of mind. THE COUNCIL
Maulin
The second element is shaping the world as Maulina advises the girl witch and her nana. Its function lies in the potential destruction that surrounds and scope of ambiguity in which the story unfolds. This allows the narrator to build a replacement system that will fit perfectly into this labyrinth of fictions mutant is your imagination and the "hope of magically influence on reality and reduce it to a model in which the end can be somebody, mask play omnipotence, create and destroy at will. " (2)
The action exerted by the contents of the advice is crucial in shaping the images incubated in the mind of the narrator. Parallelistically, confession is giving way to the main circumstances in the history of the council, but with other identities and other dimensions.
The core of the Council is the spell that is exerted on the girl and her nanny witch. The recorded image and have different representations moments throughout the novel, mostly through the complex matching game that the narrator states in his speech.
Similarly, speculation that weave around the alleged incursions of the nanny and protected fields in the form of Maulino a yellow dog and a Chonchon with a baby face, will be finding its expression a thousand times in the narrative.
The discovery of the spell only will the girl's father, who smuggle the most intimate details of the revelation to the rest of the inhabitants of the house. The fact that only the father had access to her daughter's room and darken the truth through his poncho deployed, is showing the ability of man to violate the standard terms of things, adapting them to their own reality. It is a power that the narrator will not waste, since it is implicit in the sense of distortion and suppression. This desire
to gloss over the reality did not seek other effect than to divert the attention of witnesses to the more helpless of the two, ie towards the nanny witch. This event will touch deeply the speaker, emphasizing his resentment of the luminous beings.
revenge factor will emerge from conditional Dopey history as a weapon of destruction, now run, in return, to those who have become forever the symbol of power. With that power, the punishment is directed to a minor character: the nanny.
The framed fragment of the Council brings together the basic material of the fables of Dopey. His proclivity to twist things will lead to repeat and replace the essential terms of history, gathering to himself all the details that allow fancifully weave effect and resonance of his revenge. MYTH Chilota
imbunche
The myth interwoven with the legend appears Maulin. Emerges as part of the conversation of peasants guarding the body of the witch Nanny is carried by the river to the sea. The imbunche is characterized by the scope of witchcraft ritual you have. It says in the story that kidnaps a young girl "to sew the nine orifices of the body and transform it into imbunche, because that, to transform them into imbunche, rob the poor innocent witches and stored in salamanca below land, with their eyes sewn, sewn sex, ass stitched, mouth, nose, ears, all sewn ...". (p. 41)
imbunche The image is one of the devices that Dopey will be worth to build their fictions. The narrator's destructive intent is evident from the moment tends narrative thread to connect two legends, geographical and semantically different, which will serve as a framework to guide the course of their confessions.
The imbunche involves, first, the idea of \u200b\u200bclosure, progressive minimization and substitution, transforming the world in an enclosed space is shrinking ever more. On the other hand, is the realization of the hidden power transferred to the homeless what atavistically never had, making them dominant.
Interdependence is currently warns of narratives that allude to a mythical layering clarifies its role within the overall context of the novel from the moemnto which is the source of children of Humberto coated cast its image of a new power to objectify in their memories.
notes:
1). Rodriguez Monegal: The novel as a happening, pg. 16
2). Hernán Vidal: Jose Donoso: Surrealism and rebellion of the instincts, pg. 182.
by Sergio Pereira Poza
The world of The Obscene Bird of Night by Jose Donoso, appears conditioned by a truth which has its seat in the consciousness of the character-narrator. The Dopey is the story itself from which everything emerges and everything is refracted. Nothing exists outside the inner images shaped by the creative will. The novel is the realization of a great idea obsessive who plunges into the squalid, where quacks the obscene bird of night, where the roots that feed the dirt, useless, obsolete. Is a titanic effort to surface that transforms the established reality into a nightmare of secrets and nasty signs.
The novel is a constant dialectic between the conventional order and the dark underside of the world. The latter denies the uniqueness of things in order to demonstrate that one and the other is the same. Good and evil, beauty and ugliness, the master and servant are not realities but rather different views at different levels: one superficial, the other unconscious.
This immersion in the back of things has its point of expression in the human mind, in the depths of his psyche, known of his life, but shunned, isolated in an order accommodating. The Obscene Bird of Night explicit the hidden truth through the character-narrator. The Dopey learned to move at that point of darkness.
The novel is the symbol of the destruction of the "horrible myth" of the unity of human being thereby destroy a way of life, a pattern of behavior and behavior that forces the subject to start again, getting into the thick and misty forest where it nests the obscene bird of night that Henry James speaks in the epigraph for the book.
The Dopey stands, then, in the center of the narrative universe, universe disjointed, segmented, disjointed, accurate reflection of the disintegration, targeting and dismantling of own conscience.
This seems particularly relevant because the world represented just a reflection of the will, introduced his signature look that transforms beings tax fictitious characters. Self-
not as an individual unit of obsessive images dyed his mental universe, fearing always be dismissed by the abject terror felt by the non-existence, physical and spiritual destruction. His story translate those terrors, distorting events, falsifying data, fitting the legends and myths, alienating and over again, suchas way to resist external constraints. The Dopey is, to paraphrase what was said by Donoso "A person shall not be thirty or a person or thirty." (1)
the talking point of the narrator PROTAGONIST
control of the narrative rests solely in a voice that corresponds to that of Dopey, the creator and promoter the whole story. The frequent allusions to circumstances, time or people outside it are for fabrications and recreation that have their seat in this voice. The narrator's discourse moves through areas at the end, are converging, as there are in his story a number of elements that are true milestones in a story that unfolds in either space or time, but remains fixed one of the convolutions of his mind. The presence of Nanny witch or the myth of imbunche acquire form and meaning in different situations and far from those stages mentioned, although subsidiaries are not anything other than the transcript of those. This is the case of Peta Ponce, the yellow dog, the House of Chimba or La Rinconada.
This is a cyclical story that revolves around its own axis narrative. The image delivered is the sum of experiences accumulated by the narrator throughout his life and which are reflected in the context of history.
The whole novel is the expression of this desire Dopey instigator of raising and destroys both escastilladas realities of narratives that overlap or intereliminan, under a constant game of juxtapositions and disjunctions. The narrator appears as a creator of the world, boosted by a constructive and imaginative intention of his speech.
A raid point, in our view, it is crucial to control the sector from which the narrator builds his story is one that relates to the configuration of a speaker. That moment occurs when the receiver joins as Dopey confession Mother Benita, character present and mediated by the words of the narrator. While the image of Mother Benita is superimposed in various narrative fragments of the work, it does not belong to the story at different times but are linguistic signs that remind us a partner apostrophizing involved in fictional form at various levels of confession.
This specific time and everyone else have their origin in this confession is not so in the strict sense, since the speaker has no voice. However, the confession exists in an area which exceeds the boundaries of the narrator's mind.
From Chapter Nine, the characters, stories and moments counted, anticipated or interviews in the narrative, are revisited in this confession, and to perfect them, relate them or organize a narrative. The most interesting case concerns the existence of Azcoitia Jerome. His name and his figure has gravitated in the fictional universe without assuming the quality is still character represented. Sufficient for the fabulous powers of the sick mind of Dopey link him to certain circumstances of his previous life to Jerome conferring the right to exist as tax character. Dopey
The confession belongs to a time of acute crisis, which makes his story in a speech stunned in which reality and fiction make up a new dimension to the world and whose most characteristic mark is that of a mutant and changeable existence. The narrator's voice will be split into as many identities as they are psychic compulsions to be pressured. The Dopey is also the seventh old, Boy, Jerome, papier-mache head. The labyrinth image La Rinconada is connected through tortuous spaces with the House of Chimba. Inés is Iris, Iris, Inés. It is a game that seems endless, at least until the sick mind of Dopey, generating reality, determines otherwise.
fevered consciousness is this based on where the story starts in The Obscene Bird of Night. His talking point is located within this chaotic world that is the psychological reality of the narrator. All vision is structured according to these particular facts, but of deep and decisive influence on the way to capture the world. The story weaves through these events that take different forms and identities, as information that the speaker intends to deliver, at times it is through their own voices during conversations captured by the servants of the House of Chimba or inhabitants of the Rinconada, others transported himself to the material spaces which only accessed through hallucinations. Amid this morass, apparently broken, there remains, however, this inner voice who should be the arbitrary configuration of reality, and responding to the intervention of a number of motivations that fuel the twisted imagery of Dopey.
Within these motivations, highlights and essential form of Humberto Peñaloza childhood, with the full spectrum of hopes frustrated, and the underlying presence of the board and myth Maulina chilote of imbunche.
These three factors are those that, in our view, constitute the worldview of the narrator, appearing first as the support to live the story, while the remaining two are merely triggers a complex imaging equipment. He uses these mechanisms to be mythical elements that lend themselves to revenge, destruction and self-annihilation.
HUMBERTO CHILDREN'S INCREDIBLE AND YOUR BACKGROUND EVOCATION
Dopey
The story of emerging from the frustrating circumstances that surrounded his childhood. Aware of his inferiority and an existence without horizons, his soul was resentment brewing which intensified in the same way that their efforts and desires of the father went crashing to the hard practical reality. Nothing can push it to exceed the insignificance of its origin goes back even to their own family tradition. Sought desperately to be somebody, replace the ridiculousness of his surname Peñaloza defined by a face, bright, smiling, no one could help admiring. Was the goal to his father, without requiring, had put before his eyes, because the coarseness of his name would force him to live as long locked in the prison of plebeian name. " Was that the only way it would under cover of anonymity. Humberto was carefully what his father, in his enthusiasm release, informing him of what the newspapers say of those important people. In the imaginative consciousness
father had a great deal of optimism idealizing that induced him to ascribe virtues Peñaloza, as an adult, he discovered that they were just fabrications. He, in turn, learned to admire from afar Olympic greatness radiated important man, either through the passage of cars heading to the park or through morning walks through the main thoroughfares of the city.
felt nostalgia for the poise, dignity and elegance of these attributes, he could never have. For that reason, learning was subjected in childhood had no inheritance to awaken within them a painful sense of nostalgia against the unattainable. And that ability to overcome what is offered Humberto unattainable by following the gaze of the father "a man, tall, burly, but funny, very blond hair, graceful looking for something that I interpreted as an elegant disdain, dressed as ever I dreamed that no man dared to wear ...". That vision and passing the contact-Jerome by his side one of his gloves touches his arm gently opens your mind a hunger anchovy not ever heal.
The narrative mode used in this passage reflects certain characteristics that appraise the importance placed on this piece of his previous life with the context of the novel. The episode is told from the perspective of memory and appears devoid of ambiguity and the twist with which they have worked other times of the book.
contrast manipulation as primary narrative mechanism, is the clearest sign of the dislocation, the image, delivers the world represented. It is important to emphasize, first, that the revival of the past in his correspondence with this point, from which presumably generates the confession of Dopey, is marked by the significant presence of spring and winter. The childhood experience of Humberto is evoked in the springtime with all the burden of hope and longing that implies. "But it was spring," the narrator says, contrasting with the poverty of his father, however, the confession itself is framed by the vision of a "rainy night."
where the contrast reaches its true and full expression in the narrative is repetitive use of antithesis in the form of parallelism, naked reality of the incident, restored the level vain and grotesque imagination effusive rose to the level of father the fantastic idea. We read several excerpts of the speech contrasted realities which reveal the root of the conflict of Humberto, which connotations and ramifications see crystallized in the hallucinatory world that creates your mind out of mind. THE COUNCIL
Maulin
The second element is shaping the world as Maulina advises the girl witch and her nana. Its function lies in the potential destruction that surrounds and scope of ambiguity in which the story unfolds. This allows the narrator to build a replacement system that will fit perfectly into this labyrinth of fictions mutant is your imagination and the "hope of magically influence on reality and reduce it to a model in which the end can be somebody, mask play omnipotence, create and destroy at will. " (2)
The action exerted by the contents of the advice is crucial in shaping the images incubated in the mind of the narrator. Parallelistically, confession is giving way to the main circumstances in the history of the council, but with other identities and other dimensions.
The core of the Council is the spell that is exerted on the girl and her nanny witch. The recorded image and have different representations moments throughout the novel, mostly through the complex matching game that the narrator states in his speech.
Similarly, speculation that weave around the alleged incursions of the nanny and protected fields in the form of Maulino a yellow dog and a Chonchon with a baby face, will be finding its expression a thousand times in the narrative.
The discovery of the spell only will the girl's father, who smuggle the most intimate details of the revelation to the rest of the inhabitants of the house. The fact that only the father had access to her daughter's room and darken the truth through his poncho deployed, is showing the ability of man to violate the standard terms of things, adapting them to their own reality. It is a power that the narrator will not waste, since it is implicit in the sense of distortion and suppression. This desire
to gloss over the reality did not seek other effect than to divert the attention of witnesses to the more helpless of the two, ie towards the nanny witch. This event will touch deeply the speaker, emphasizing his resentment of the luminous beings.
revenge factor will emerge from conditional Dopey history as a weapon of destruction, now run, in return, to those who have become forever the symbol of power. With that power, the punishment is directed to a minor character: the nanny.
The framed fragment of the Council brings together the basic material of the fables of Dopey. His proclivity to twist things will lead to repeat and replace the essential terms of history, gathering to himself all the details that allow fancifully weave effect and resonance of his revenge. MYTH Chilota
imbunche
The myth interwoven with the legend appears Maulin. Emerges as part of the conversation of peasants guarding the body of the witch Nanny is carried by the river to the sea. The imbunche is characterized by the scope of witchcraft ritual you have. It says in the story that kidnaps a young girl "to sew the nine orifices of the body and transform it into imbunche, because that, to transform them into imbunche, rob the poor innocent witches and stored in salamanca below land, with their eyes sewn, sewn sex, ass stitched, mouth, nose, ears, all sewn ...". (p. 41)
imbunche The image is one of the devices that Dopey will be worth to build their fictions. The narrator's destructive intent is evident from the moment tends narrative thread to connect two legends, geographical and semantically different, which will serve as a framework to guide the course of their confessions.
The imbunche involves, first, the idea of \u200b\u200bclosure, progressive minimization and substitution, transforming the world in an enclosed space is shrinking ever more. On the other hand, is the realization of the hidden power transferred to the homeless what atavistically never had, making them dominant.
Interdependence is currently warns of narratives that allude to a mythical layering clarifies its role within the overall context of the novel from the moemnto which is the source of children of Humberto coated cast its image of a new power to objectify in their memories.
notes:
1). Rodriguez Monegal: The novel as a happening, pg. 16
2). Hernán Vidal: Jose Donoso: Surrealism and rebellion of the instincts, pg. 182.
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