Journal of Literature On-line version ISSN 0718-2295
Rev. chil. lit. n.68 Santiago in April. 2006
doi: 10.4067/S0718-22952006000100005
JOURNAL OF LITERATURE
April 2006, Number 68, 123-140
I. STUDIES
Jose Donoso OR EROS OF HOMOPHOBIA
Miguel Ángel Nater
University of Puerto Rico, Rio Piedras
SUMMARY / ABSTRACT
The article highlights the importance of "Donoso Papers, guarded at the University of Iwoa, in relation to the ideas of Julio Ortega about the same as expressed in the newspaper La Tercera de Chile. In addition, a reading of homophobia as an expression of eros in the novels surreptitious place without limits and The Obscene Bird of Night. In contrast to the homoerotic exhibitions Ortega stated in the documents Donoso, the narrators of the two most important novels of the Chilean writer express a continued refusal to social outcasts, or expose the sodomy as a way to express the inferiority of the subordinate.
Keywords: José Donoso and documents at the University of Iowa, liminal and libidinal gaze queer and power relations.
This article underscores the Significance of José Donoso's "Papers" in the custody of Iowa University, in connection whith Julio Ortega's ideas about Them, Known as made by the newpaper "La Tercera", in Chile. In Addition, a reading of homophobia as a surreptitious expression of eros, is made in the novels "The place no limits" and in "The Obscene Bird of Night." In contrast to the homoerotic in Discourse That Detects Donoso Ortega, the two best narrators Known in the novels of the Chilean writer express a constant rejection of the marginal characters, Otherwise expose or sodomy as a form Which expressos the inferiority of the underling.
Key Words: Donoso and the Iowa Papers, subliminal and liminal spaces, the queer look and power relations.
Luis Felipe Diaz To Lizza Fernanda
documents that the author of The Obscene Bird of Night sold to the University of Iowa were not necessary to state the obvious concealment of their sexual orientation, much less for a reading the same texts indicate Donoso and require the reader. In an excerpt from the essay Conjectures on the memory of my tribe, José Donoso Yáñez (1924-1996) revealed the "scandal" that has been causing the last hit literary research in the United States in connection with the work Donoso. This is the story of an episode, very blurred indeed, homosexuality, narrated with a sleek and seductive lyricism: "The dealer
smelled plague, Grotto of Lourdes ...? No, I had another smell I know. With the tips of my fingers as I stroked his shirt where he discovered his chest open in order to investigate the secret of her copper skin and coat my fingertips in misery, to see if there were impregnated, opening with that contact, I do not know what ways, and teaching me that one can miss the possession of another skin (1996, 69).
This nostalgia of his childhood, similar to the expressions on their cards, so subtle and tender evocation, in contrast to the aggressiveness with which the narrators of both unlimited Place (1966) and of The Obscene Bird of Night (1970) , present their characters and are positioned toward homosexuality. Could be highlighted using the transvestite in the first novel, Manuela, along with the homosexual "closet" Pancho Vega, a situation that extends to phobias that makes monstrously its most celebrated and ambitious novel, which adds to sodomy as an expression of power and submission, as shown in the following snippet, which shows the result of the link between Don Jerome Azcoitia with prostitutes, a monstrous kind of relationship in which the narrator-character intercourse with his master and submits as a result of his lust for power:
[...] I was not only encouraging and possessing through him to the woman he had, but it penetrated my power to him, I penetrated the male penis, which made my pussy, forcing him to howl with pleasure in the embrace of my eyes even though he believed that his pleasure was another punishing my employer transforming it into humiliated, my growing contempt and disfigured, Mr. Jerome could not be without the fag of my eyes it was nothing but debasing until my penetration left him satisfied, whatever you like Humberto, whatever you fancy as long as you never leave my side (1991, 227-228).
However, when analyzing the works Donoso encasing it does not seem legitimate under the label of "gay literature." The aspect of sexuality ambiguous, complex and problematic in a world too ambiguous, complex and problematic, should not be reduced in the new vision of these works to a single study from the gay perspective. As you said Silvio Caiozzi in the Chilean newspaper La Fourth (June 7, 2003), it is alarming that in Chile are still worrying about the sexuality of the writers: "It's a shame that Chileans are concerned about the supposed homosexuality of a great writer. I think this happens only in Chile Donoso, the Mistral ... I think the sexual fixation is still an outstanding bill. "Scandal This trend can also be noted in the article that Julio Ortega sent the Sunday magazine of the newspaper El Nuevo Dia in Puerto Rico, who also has been published in journals Identities , The Titanic Club and Rebellion. It is in these cases, asserting that the newspaper La Tercera has tried to promote sensationalism regarding homosexuality "unprecedented" by Donoso, a truth out loud, and the name of the young José Miguel as mentioned in the National Literature Prize 1990 in one of his letters. Have to clarify these reports of the Santiago newspaper not dedicated only to expose the homoerotic tendency Donoso, as I stated in an article for the newspaper El Vocero (Puerto Rico, Saturday, September 27, 2003, p. E10), "José Donoso before and after the scandal, but to highlight the most important aspects which may relate the contents of the famous and "José Donoso Papers" which houses the University of Iowa
Basically, the two novels I mentioned are long and complicated story about social transgressions, political and literary writer Marcelo marginalized culminating in Chiriboga, the character-novelist of works such as The garden next door (1987) and where elephants go to die (1995), and largely, it begins to take shape in Humberto Peñaloza, the character-novelist of The Obscene Bird night. This is the problem of the artist in the modern world from the threat of homosexuality in heterosexual space and vice versa, and in that sense, the origin of this aspect in the total work of Manuel González Donoso is Astica, Manuela. The link with the subject of the real artist, the novelist with his environment, his novel and his chances of being read, published and soared to fame is the central theme of these novels, as well as the essay on American novels, History staff of the "Boom" (1972). And it is understood, thus the need to read the real life of the author's works Donoso.
However, this is not a novel as Death in Venice by Thomas Mann, as Theleny and The Picture of Dorian Gray Oscar Wilde, or as Tadzio's death of Luis G. Martin, for taking a few examples obviously linked. This is not the concealment of eros and the stress of the object of desire against impotence, stress explicit music very well in the fourth movement of Symphony Number Five of Gustav Mahler used the producer of the film Death in Venice , Luchino Visconti, in 1970, a film which is a rewrite of the work of Mann and highlights, rather than the novel, the homosexual element. Nor is it gross obscenity, despite the enigmatic title of the fourth novel by Donoso and re-articulation of Visconti's film on the novel by Martin alluded to the English. The marginality of the artist presents Donoso, this Thomas Mann Hispanic, as Carlos Fuentes called, goes beyond the simple biographical data in connection with the beautiful young José Miguel, as it features a snippet of his letters published in the Chilean newspaper La Tercera . Julio Ortega, the attitude of the press only serves to misrepresentation chismografo: "They say his age but his name silent, not discretion but rhetorical pause in the black arts of gossip "(18). This is, according to Professor Brown University, extracting benefits from a truth which the texts of the author of The mysterious disappearance of the marquise de Loria (1980) stand out better. But I think Ortega's complaint limited the findings highlighted the Third in relation to other aspects of the work Donoso. not just serve the tricky issue of sexuality of the author of Despair (1986), but point to the literary success that exceeded, such as the origin of The Obscene Bird of Night and The Place without limits, the latter's original title (bet), and sketches of the three novels that did not Donoso to write: Walk, Pisagua and El Tigre. Yes it was meant to be a novel, "gay." Donoso
prefer violations and eyesores such as releasing elements of an aesthetic that favors castrating order of society, and grotesque homosexuality is included among those elements. There is a presentation on his works of poetry and subtle homosexuality as it appears on the most prominent piece of your correspondence so far: "My terrible, violent, uncontrollable admiration for her beauty. I wonder at its purest youth. How not to love wonder why not? We all look forward to a being all that is capable of giving and, in my turn, pass it all? " This exalted passion for beauty and youth is the opposite of what is presented in the novels of Donoso. Manuela is a transvestite old, sick and cowardly that daunted at the "macharrán" but that is openly queer town, the "queen" of a party that becomes the object of vindicating the memory of a lost paradise. However, the "queen," the "queen" in the gay, homosexual should be closer to the prototype of the female homosexual, the opposite of Manuela, a kind of absurdity that embodies phobias harassed of marginality and threatened by the order that represents Pancho Vega, who in the light of new biographical discoveries, should be the alter Donoso ego precisely who, under the influence of alcohol, under the table and under the English outfit caressing the thigh of the Manuela. Both Manuel and Pancho are on the same threat. While it is true that Manuela is a homosexual, your problem is not homosexuality, let alone represent the author's homosexuality. May well relate the confinement in the house with the placement in the closet (space closure homoerotic eros) with homosexuality unacceptable. However, in relation to Talca and outer space, Manuela is an expression of desire for the conservation and perpetuation of the space that binds to its former glory. La Manuela is in that sense, opposition to the desire of a Donovan would like to act out their homoerotic desires or his confinement in the Chile of the realistic narrative. Manuela is the grotesque, phobias and deteriorating in a world that, too, is bizarre, phobic and detrital. Transvestism, homosexuality is not-for Manuela, is a function to represent the decadence of a past world that struggles to survive with hope in technological advances, as in fin de siecle culture and the early twentieth century (Dugast, 22): specifically this is shown in metonymy of modernity, on the train, the Wurlitzer and the longitudinal street. Those elements would make the house the space of liberation from the lack of this. For Bernhardt Roland Schulz, who has made a very precise study of the character of Manuela from the narrative perspective and queer, the link with the house is a function of defining the self and the identity:
La Manuela has been in the Olivo because it was very important to establish their own space in which to establish their identity, hence the house has been the cherished territory that would move to materialize their fantasies and secure their future (232).
The identity between the two is not accidental; serves to introduce the disintegrating world view of the situation and detrital character. The brothel house is sinking and is cornered by the growth of the vines of Mr. Alejo, possible representation of the economic situation that involved aggressive program of expropriation imposed by the President of Chile elected in 1958, Jorge Alessandri (Skidmore, 144) it is the last survivor of a decaying world, the "fall of order", as stated José Promis Ojeda (1985). Pancho Vega, however, is the young man, the rebel angel who opposes the power of Don Alejandro and that is linked to the outer space of Talca. Moreover, by having one of the symbols of technological advancement, the red truck that allows you to jump out of the circle hell of El Olivo, clearly opposed to the desire most of the Japanese and Manuela, who live hopeful about the possibility that the house back to being the big brothel when she passes in front of the longitudinal street. Don Alejo, meanwhile, is trying to take the house that once belonged, it was inherited from his family and lost a bet with the Japanese Big-bet to have been the center of the novel at first, and the title of the book, The bet, as is evident from the recently published letters from Donovan, to become the totalizing power. It is thought that those who oppose the plans of Don Alejo is Pancho Vega, however, is his real rival Manuela, who continues hopefully in the future impossible, stopping in his ignorance and despair, the whole vineyard of Don Alejandro. In the process of power, Pancho and Octavian, to eliminate the Manuela, are allies of the world oppressor. Pancho's homosexuality and homophobia Vega Octavio accused are elements of the destruction of hope, one of the central themes of the work of Donovan. We are far from the myopic and prejudiced against homosexuality, as shown in the trial of Fernando Moreno Turner, when he says:
addition to the above, it is important to note that it is the consciousness of a pervert, a homosexual-expression of a deformed human, which is responsible in large measure, deliver the vision of the world. This is nothing but a manifestation of the precariousness of existence, the degradation and decay of a satanic world in chaos and the irreparable destruction (81).
However, the sensitivity of Donoso is not limited to the condemnation of homosexual, but as an expression of artistic representation of the crisis of modernity and its apocalyptic vision. The repulsion of the narrator is an expression of social rejection of homosexuality. In fact, Manuela embodies the constant struggle between Eros and Thanatos, if we follow the psychological exposures developed in Herbert Marcuse Eros and Civilization. For Marcuse, the human being is in tension between two forces: the natural instincts, which involve the true self, and the constraints imposed by society, promoting the emergence of a being masked. From unrest in the culture of Sigmund Freud, Marcuse notes the importance of understanding narcissism and auto-eroticism, but as a way of understanding the cosmos. For Freud, the contents of the primary feelings that arise from the ego is like a limitless expanse of the universe together (oceanic feeling), which seeks to install the unlimited narcissism. Marcuse elaborates the theories of Freud as follows:
The striking paradox of narcissism, generally understood as selfish escape from reality, is related here with the oneness with the universe, reveals the new depth of conception beyond all autoeroticism immature narcissism denotes a fundamental relationship to reality that can generate a comprehensive existential order (161). Donoso
not solve the problem of the encounter with absolute freedom, which according to Marcuse would result in barbarism and utter chaos, preferring instead to rely on human ambiguity, including sexuality, to specify the infinity of life stress. It is, as has been well Sarduy in Written on the body (1969), full cross-dressing at all levels of life, which promotes heterosexual aversion and requires a world marginalized as infernal and apocalyptic space. In fact, to Hortensia Morell, this apocalyptic vision "expressionist" takes place in the narrative voice: "The narrator communicates the place no limits on the spatial framework of the story that same feeling that characterizes the areas apocalyptic expressionist" (30), and Turner Moreno highlighted the village as a haven investment, as an underlying hell (82). In that sense, it highlights only the hell of Manuela, but the slow emergence of the vineyard of Don Alejo infinite, limitless place, a metonymy of the impotence of both the junior and the representative of power in decline. Not exist in this novel the central character. As in the novel Nature is the environment who is opposed to hope, to life and devours everything. What is the role of homosexuality in this world? Manuela is a man with a huge penis becomes the symbol of the impotence of the village men, who reject both the English dancer and the grotesque body that seduces:
When they finally shook hands for both get into the bank were all amazed at the anatomy of Manuela.
- What an ass ...!
"Look who is well armed ...
-Psstt, if it does not seem queer.
"Do not you see women who are going to love.
La Manuela, shivering, answered with a laugh.
"If this device does not help me just to pee (95)
is the rapt gaze of men before the body of Manuel González Astica, however, the Manuela surfaces at the time of claim, with its castrating laughter, crossdressing language that crosses all the work. The English dress is a metonymy for the elimination of man. By breaking the dress Manuela, Pancho promotes the appearance of the male and the rejection of liminality and Alejo don men at the party thrown into the lake at night, a symbol of the deep psyche, according to Jungian psychology. Carl Gustav Jung, water is a symbol of consciousness, the space in which being comes to know. Water is the world of uncertainty, where everything is on hold: "[...] where I am inseparably this and that, where I Vivencio me the other me another experience like me "(27). Indeed, it is shaking in the minds of men don Alejo that seduces eros, the desire to possess that other abject body, erotic, marginalized and problematic. The climb from the lake to the shore is an expression of the return of the repressed and phobias. We find it in the liminal libidinal. These meetings take place, in most cases, at the edges, on the banks, in Guardarraya, in those places yet undefined, becoming in space as a momentary freedom offered by village women to their husbands in the house-brothel, and Pancho's hand between the woman's dress and men's skin.
rejection of men by Manuel González Astica opposite impulse response to the aggressiveness of Pancho, who want to kill him to hide his homosexuality and claimed before the inquisitive eyes of Octavius. Manuela to kill, want to eliminate the continuing conflict between the erotic and the Satan in terms Marcuse, and, in turn, wrapped in all of Don Alejo plan. However, between Pancho and Manuela there is a striking similarity. They are intimately related to the fundo El Olivo. Pancho is the only character it can get out of town, but is still tied to its economy, a debt to Don Alejo. La Manuela to stay in the brothel house he inherited from the Japanese Grande, but Don Alejo wants to buy the property and expelled to convert the town into a vineyard. Technological advance and promote urban growth in both characters, the opposite intention. Pancho tends toward freedom, but can not shed their ties with Don Alejo, while Manuela is not to shed their ties to the house, and Don Alejo wants to expropriate. Infernal space, place no limits, arises between the two movements, in the cleft of the erotic and the windows, in the undefined spaces. It is the struggle of hope and despair, an attitude which give title to one of the later novels Donoso, The hopelessness.
On the other hand, the most important scene of the play, the bet between Don Alejandro and the Big Japan, presents the problem of change and the masking of the struggle between Eros and Thanatos. In the interesting episode of a bet between the Japanese and Don Alejo, Donoso exposes precisely the possibility of intercourse and generation between a homosexual and a woman. The monster is monstrous, not the homosexuality of Manuela, but by the laws of genetics. That monster does not necessarily have to be a product of the human race doomed to homosexuality as in The Obscene Bird of Night is between heterosexuals a hideous being similar or worse.
union's episode of the Japanese and Manuela has been interpreted as a rewriting of the myth of the fall of Adam and Eve, which I think is exaggerated due to the distance between elements of the union. Charles M. Tatum clings to this idea of \u200b\u200bthe vineyard of Don Alejo as a land of promise and unity as the fall (1971). Indeed, the vineyards of Don Alejo become a kind of living organism, metonymy anarchic power that is growing and choking the hope of the Japanese Grande, the Manuela and Japonesita, inheritance Donoso's narrative of the novel nature or the earth and at the time of the naturalistic novel.
More relevant seems to me the interpretation of Sarduy in Written on the body. By linking the site without limits with surrealism and mythical tradition of the world upside down, presented as space conversions, transformations and disguised, in relation to language. This view suggests Sarduy metanarrative presents writing as a travesty. Although it is a bit forced, Manuela metaphor for the literary text itself could be applied to the artist. Sarduy states: "[the books] are the persistent bias that has considered the outer face, such as front of something that would be the face that says: content, ideas, messages, or a 'fiction', an imagined world, and so on. "(47). This idea is very attractive, but lack of textual support. Yes could say Manuela reading as a prototype of the artist in an underdeveloped country with regard to the deterioration of the hopes behind the increase, which coincides with the deterioration of his art.
more risky and sometimes downright ridiculous, is the Ben Sifuentes Jáuregui statement about cross-dressing in this work: "I affirm, however, the place is boundless body and his gayness Manuela" (89). Perhaps the limit is or is between el juego de los hombres (que Sifuentes ha querido ver como homosociedad, momento en que entre hombres se ha eliminado toda referencia a la sexualidad) y el travestido. Precisamente, todo se viene abajo cuando la Manuela intenta besar (ser activo) a Pancho. La mirada de Octavio señala en Pancho la institución familiar, la "unidad" diría Julia Kristeva, que el sujeto cuestiona, y se establece el "proceso" como la desestabilización y el intento de protegerse contra la acusación de homosexualidad. Ese acontecimiento del beso de la Manuela se opone al "apretón" que Pancho le proporciona a la Manuela por debajo de la mesa o el contacto con la mujer simulada en el baile español. El traje de española y el mantel de la mesa subvierten erotic contact, exposing the contact to the eyes of Octavio says the dissolution of the "unity" that is recognized in manhood. In the definition of "process" versus "unit", Kristeva's speaking subject relates to the speech with a social institution that the subject perceives as support for their identity. The text as crossing signs, becomes the question of the subject against the institutions which recognize, and matches the moments of rupture, renovation and revolution of society (13). Based on the relationship between mode of production and significant production, Kristeva points to the "process" such as marginalization, madness, holiness and poetry, as opposed to institutions, family, religion (the "unit") and highlights the emergence of subversive role of art from the nineteenth century with the triumph of bourgeois revolution, capitalism and the decline of the Christian religion. From this perspective, Kristeva proposes the advent of a crisis of "unity" that is being developed with new fiction from Joyce, new poetry from Mallarmé and the new theater from Artaud. At bottom, the crisis unfolds in the manner subversive of ideology: "It was announced the era of crisis, of the finite, family crisis, the state of religion which is accompanied a crisis of what the art depends on the system to accentuate what it bears wear. Today we suffer the consequences of that process "(15).
Following the duality between" unity "and" process ", Kristeva opposes the symbolic to the semiotic, the logical operation against irrationality. The dissolution of the" unity "is to be the transformation, metamorphosis and revolution of the novel form, of poetic language, considering the emergence of otherness from the enjoyment or the semiotic. The enjoyment genital representing the kiss of Pancho Manuela destabilizes family relationships precisely because exposure of the scene to look Octavio.
On the other hand, Manuela is a being deformed and grotesque. After the first dance performed to celebrate the election of the deputy, Don Alejo men throw it into a puddle. Manuela takes off her dress and shows her huge English penis. Contradiction, a homosexual, in the view windows and at the same time, erotic men, is more gifted than the men in town. The Japanese, meanwhile, is also being physically deformed. The mixture of these two contradictory forces produced by the art, a creature also deformed Japonesita whose ugly body, skinny not allow him to function in the proper place: "[...] although Japonesita I would be fucking poor, it would not be so skinny "(17). Moreover, although his body has a reproductive system dysfunction, is characterized by ambiguity, absent in the other prostitutes, and his greatest wish is procreation
Japonesita, however, was pure ambiguity. Suddenly, in winter especially, when it was so cold to the poor and could not stop shivering from pruning to harvest, began to say he would marry. And having children. Children! But with his eighteen years of age or rule it reached him yet. It was a phenomenon (27).
The presentation of both the Japonesita deformity of the Manuela, the struggle of three men at the time of the death of Manuela and then Boy and "Dopey", involves the grotesque as detachment from the world, in the sense given to Wolfgang Kayser (1964) and is to raise the problem of social crisis. As David Rearwin:
One of the dominant motifs in Twentieth Century English American literature is conflicting cultural and social. [...] The place no limits (Chile, 1966) expressos the motif of Conflict in Terms of distorted sexual identity, perversion, and a schism entre male and female roles and values \u200b\u200b(158).
Although this relationship between the protagonist's crisis and social crisis is valid, the problem that introduces Rearwin Pancho is identifying as the central figure of the story: "[...] the resolution of the Protagonist, Pancho Vega, line forms to Progressively Advancing Eventually Which Separates from That of this alter ego INSTEAD of rejoining it to form a closed circle " (159). Sarduy, meanwhile, focuses his interpretation of the place no limits on the figure of Manuela. In the aforementioned book, the author of Cobra notes that the novel is based on the basis of investment Manuela: "The central investment, that of Manuela, starts a series of investments: the succession of these structures the novel" ( 44). Manuela symbolizes the artist, like the Japanese in those scenes depicting before Don Alejo. Both Like Pancho and drunken men are by nature ambivalent. In this chaotic world, sexuality serves simple reproduction and is not connected with the sacred, as shown in the breeding of dogs Don Alejo. The artist in his art debate to re-create the reality that the viewer wants to see. However, the scene of desire leads to destruction of the hopes of the three characters, not the human race. The Japanese want the house because he believes in the promises of progress made by Don Alejo, but also wishes to seduce the Manuela, an act that would make him feel a great pleasure lesbian, contradicting assertions Sarduy in the following passage: "La Manuela, novelistically (grammatically) is meant as a woman-first investment, "works as a man, since it is as a man who attracts the Japanese" (44). Exactly what the Japanese want is all that can not offer man as she understands it: "Manuela, [...] I'm bored with these hombronazos that I liked before when I was younger, I stole money and made me against the first that put them ahead, I'm bored, and the two can be friends [...]" (101-102) and later: "Maybe he would suffer, but otherwise, not that scream of pain when a man ceases to love her, that quartered night after night, because the with another man leaves or cheats [...]" (104-105).
Another reading is again offering laughable Sifuentes, for whom the Japanese "[...] Grande Manuela understands that is, Ultimately, a man like any other "(93). Quite the contrary. So what you want. is a lesbian act. She pretends to be a man and therefore manages to seduce the Manuela. "[...] The Japanese do not get Manuela that end up being a man "(Sifuentes, 94). Don Alejo and his men are represented verbal comedy of seduction. The Manuela works, in the eyes of Don Alejo, as a man, but deep down, naked, Manuel González Astica is like a man who hides a woman's being, the Japanese woman makes him feel proposing it as a strong male: "[...] no, no, you are the wife, Manuela, I'm the butch, you see I'm down the pants and how do you remove the bra for your breasts are bare, and I gozártelos [...]" (130). This again points to the linguistic cross-dressing through which Manuel is female and the male is Japanese.
Don Alejo is forced to keep his promise to not look bad standing in front of his adherents, but basically do not want to give the house, tear it down as it longs to convert all the people in a huge vineyard. Manuela also wants the house as a place of refuge, as it leads a life from childhood wandering from house to house, from which he was caught having sex with another boy at school. The three wishes will be frustrated and will end in despair.
The search space could be linked to the release of homoerotic eros in the case of Pancho, not in the case of Manuela, whose fear is the transformation of "women", transvestism, precisely because they fear death that can inflict Pancho. That means the dress torn, an injury in the hope of Manuela. The safety of youth, healthy and agile body, the new clothes and house-brothel magnificent, has become the instability of the elderly, the sick body, the torn dress and the house is sinking, all as metonymy of the loss of hope. This relationship between the body and the house gradually disintegrate is what I call "apocalyptic space" (2002).
A biographical reading of this novel would be forced to double vision: Homosexuality in the "macharrán" and the travesty of the doubt against the threat of the homosexual closet. The great fear of Donoso, as evidenced by the fragments of his letters are known, focuses on the social threat, political and religious, which in Chile seems to be more recalcitrant. However, this reading goes beyond sexuality in the process of both novels. The narrators of the place without limits and The Obscene Bird of Night are representative bodies of the constraints and degrading view of aggressive heterosexual world. Phobias and neuroses that produces schizophrenia of "Dopey" and Humberto Penaloza in The Obscene Bird of Night imply a re-elaboration of the threats that the artist experiences in a world that asphyxia, as with Manuela. In my doctoral thesis entitled "The space Initial apocalyptic novels of José Donoso" I have studied how these phobias are reflected in the discourse of the novel by Humberto Peñaloza, the reporter does not write the history of the Azcoitias. The narrator of The Obscene Bird of Night is a protean, as the novel itself from the perspective offered by the theories of Mikhail Bakhtin in Theory and aesthetics of the novel, and György Lukács in Theory of the novel. For both, the novel is a genre in formation, and shows the changes of modern society, therefore, gender is a protein. This "protein" of the novel, in the case of the fourth work of Donovan, is also reflected in the transformation of the narrator. Humberto Penaloza is a historian, writer, novelist, who should write the chronicle realistic style of the nineteenth century, whose book has been written on behalf of Don Jeronimo de Azcoitia in order to perpetuate the glory of his race. It is also The "Dopey" schizophrenic whose speech is addressed to multiple narratees sick imagination in mixing will, in turn, with its own personality. Is the apparent trend of denying the role of the narrator, the "voice" of a world that "tells" the mother Benita its own destruction, its metamorphosis and final closure, solipsistic disappearance at the end of the novel. In this apocalyptic world, homosexuality is no longer the center of the narrative. Humberto disorders / the "Dopey" are closer to the real author's phobias, which very well expressed Donoso Personal History of the "Boom." Alienation is, in this sense, the focus of these great novels.
While Donoso letters expressing a front and a tenderness unspeakable love the object of desire in the novels there is a very aggressive towards Manuela narrator, aggression is not directed precisely at the Manuela, but homophobia . The narrative becomes a quest for liberation through the evocation of the speech of another. In The Obscene Bird of Night, the narrator-character uses male sodomy as a form of subjugation. Donoso uses threats, insults, name-calling and rejection of homophobic society to develop a character who seduces the macharranería exemplary man, who must be Pancho Vega / Don Jeronimo. In this regard, Octavio's gaze becomes the threat of forcing Pancho order to react against Manuela. This is the code straight in the village has established special rules that allow "men" act on the borders of both worlds. At bottom, the libidinal aspect of the domain sets liminality homosexual in a heterosexual world and vice versa. The "place no limits" would be established between the possibility of transgression and prohibition of desire, the eros of homophobia. Pancho is a "man" in the eyes of Octavio, until the kiss happens transgressor of Manuela. This special rule expresses the ambiguity which moves most of the work of Donovan. Homosexuality is a fragment stage of deep awareness of Pancho and must remain in that space, like the Manuela must remain in the house, marginalized by the fear of death. Donoso pursues a poetic irony and grotesque insult and recovery makes it counter-discourse. The relativity of beauty, truth and reality corresponding to the relativity of personality and novelistic discourse. The sequence of changes narratee in The Obscene Bird of Night, beginning to appear in Coronation (1957), is developed in this Sunday (1966) and the place without boundaries and intensifying in the fourth novel, leads a series of relationships binary structure the story as an accumulation of conflicts are not resolved, and transvestism.
One of the letters quoted in the newspaper La Tercera I find interesting by the fact that emphasizes the poetics of space debris and apocalyptic that I studied in relation to the first four novels Donoso:
'm finally happy ... I feel my life is taking a real course, a unique course. My love for Jose Miguel, who had been made of rubble or things without building, set in the shadow of a world naturally hostile to such things ... is back, and I am not ashamed of it.
This piece is more interesting than those who emphasize the "homosexuality" from the author of Field House (1978). The great novel Donoso is structured the same way that love by Jose Miguel. Almost all the work Donoso is crossed by the obsession to wrap, to keep in boxes under the bed, and this culminates in the imbunche Hex, which involves saving being in the body or the removal of the outside world, a kind of solipsism sometimes terrifying, sometimes liberating. Alicia Borinsky, the source of this topos Donoso began with The Obscene Bird of Night, and culminates in the poetry of self-destruction in The mysterious disappearance of the marquise de Loria, "Green Atom Number Five" and the short stories included in Four to Delfina (293). The imbunche is, in turn, related to transgressions outlaw's daughter to be hidden in the house so they do not know the truth. That is what all the obscenity of The Obscene Bird of Night. It is necessary to hide, hide everything that affront to the constraints of society, such as Manuela and homoerotic desire as Pancho. And hide their faces under the mask, body suit under the English, being under the schizophrenic speech, also hides the realist novel in the discourse of the new novel. Donovan does not abandon the tendency of the novel to the "history" to be telling, however, that history is hidden, is obscene, as are obscene Boy, Dopey and the old. At the end of the novel, the total closure of Dopey, the imbunche, is the metonymy of the novel tight, enclosed, self-destructive, competing to find a new way and a new space. In fact, obscenity-num in Latin is precisely what can not be displayed. The child-witch, the girl-saint, the child-Messiah, Dopey, Boy and the old servant of the great families, as well as Manuela, are symbols of the desires, impulses not only homosexuals but of instincts human being's natural to be transformed into monsters that hide away in the unconscious, producing what Sigmund Freud called the uncanny and the uncanny. For the author of The Interpretation of Dreams (1900), the uncanny is the product of actual contents of the fears that have been "forgotten" and placed in the unconscious, returning to disturb the conscience. This is one aspect that underpins the greatness of the novels of Donoso, of the obsessions that Ana María Moix has emerged as a modulator of the narratives that concern us (10-11).
In recent letters Donoso, as in his novels and stories, there is a tendency to relate the perceptions and feelings of the characters with more detritus. This perception of the apocalyptic space with hellish labyrinth spaces coincides with the minds and bodies schizophrenic patients. Homosexuality serves to symbolize phobias natural instinct or Thanatos aimed at removing social constraints. However, Donoso raises the possibility of using the speech aggressor against homosexuality as a device that allows to recreate the ambivalence of life, of being, of reality and truth in the eros of homophobia. BIBLIOGRAPHY
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Turner
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