{[ promptMessage ]}

Bookmark it

{[ promptMessage ]}

Severo Sarduy - Severo Sarduy Photo by D Roche Seuil Princ...

Info iconThis preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
Severo Sarduy Photo by D. Roche © Seuil Princ ipal criticism Escrito sobre un cuerpo: ensayos de crìtica . Buenos Aires: Editorial Sudamericana, 1969. Bing Bang; para situar en òrbita cinco màquinas; pour situer en oribte cinq machines de Ramon Alejandro . Montpellier: Fata Morgana, 1973. Barroco . Buenos Aires: Editorial Sudamericana, 1974. Other literary forms Severo Sarduy was both critic and author. His collection of essays on Latinamerican writers such as Lezama, Fuentes, and Puig are contained in his "Escrito sobre un cuerpo" (1969) and along with theory, the essay on Gongora would foreshadow Sarduy's own obsesion with the baroque. By 1963, his novel "Gestos" was published in Barcelona by Editorial Seix Barral in which other obsessions (motifs) are first introduced; in "Gestos" we find a group of anti-Batista revolutionary students along with a 'mulata vedette' who is also a terrorist; one of Sarduy's preocupation is with issue of the Black and Chinese presence in Cuba. The presence of other races turns not only a political and social turn, but also becomes a question of reconciling Chinese and African traditions within the realm of Spanish Cuba. In "Gestos" we also find Sarduy's fascination for 'kitch', that element of bad taste which destroys levels of aesthetics or class. In 1967, "De donde son los cantantes" published in Mexico (Octavio Paz would later publish in this same printing house, Joaquin Mortiz), heralded Sarduy as a leading novelist. Though 1967 also saw the publication of "Cien anos de Soledad", Sarduy's novel would answer the queries of the "Boom" generation and modify the conventions of authors like Vargas Llosa or Garcia Márquez beyond sex, nationality and setting. "Colibri" of 1972 proved even more radical. The novel is a treatment of two transvestites who undergoe sexual surgeries; La Cobra is castrated and La Cadillac shows off his new member. Beyond the desire to change to the Other, there is question of the innate desire for the Orient, and to that effect, Sarduy even includes parts of the diary of Christopher Columbus toward the end of his novel. "Colibri" is the most Sarduy-esque novel. Characters are meta-characters and not individuals, lacking any attachment to a reality
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
that may be real. The chararacters also seem to exist only if their opposite exist, and much like a use of Saussure, it is the opposition which creates them. It should be added that at another level, "Colibrì" is a parody of the "novela de la selva" (the novel of the jungle): "La voràgine" (1924) of Jose Eustasio Rivera; Canaìma (1935) of Ròmulo Gallegos and "La casa verde" (1965) written by Mario Vargas Llosa. "Colibrì" is perhaps Sarduy's more autobiographical novel, composed like a 'bildungsromanz' where the young Cocuyo threatens to poison his entire family with rat poisoning. Once again, this novel of full of drag queens, sadomasoquists, dwarfs and deformed creatures, to name a few of the characters in this dark world.
Background image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}