Muestrario de
Ficciones Hispanoamericanas, pronto en Amazon
Muy pronto,
La Caverna, escuela de escritura creativa, publicará en la plataforma de Amazon
la Antología bilingüe2015 en versión de papel y digital.
(Ya se puede ordenar en Amazon:
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=Muestrario+de+Ficciones+Latinoamericanas.+Jose+Diaz+Diaz)
(Ya se puede ordenar en Amazon:
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=Muestrario+de+Ficciones+Latinoamericanas.+Jose+Diaz+Diaz)
Coeditada por
María Gabriela Madrid y José Díaz- Díaz,
Muestrario de Ficciones Hispanoamericanas recoge textos de los narradores
residentes en el sur de la Florida: Dioly Araque (Venezuela) Luis Alberto
Miranda (Colombia); Hernán Orrego
(Chile);
Tonny Flórez de Restrepo (Colombia) y José Díaz- Díaz (Colombia); de María
Gabriela Madrid, venezolana residente en San Antonio, Texas; del peruano
residente en Lima, Jorge Andrés Escalante y del mexicano Alejandro Rosales
Lugo, residente en La Victoria, Tamaulipas.
El prólogo,
cuyo texto publicamos a continuación es de la autoría de Luis Alberto Miranda.
La traducción general del libro al inglés,
a excepción de algunos textos traducidos por los propios autores, es de
María Gabriela Madrid.
La
ilustración de la cubierta del libro y de las ilustraciones interiores corresponde
a fotos de pinturas del gran maestro cartagenero Chenco Gómez.
Prólogo
El
cuento y la búsqueda de identidad.
Por: Luis
Alberto Miranda
En la tradición cultural de todos los pueblos y en la
formación de las naciones, el acto de contar, la llamada narración oral o
escrita, ha sido de suma importancia para la formación de los inconscientes
colectivos y del acervo de ideas, creencias, ideologías y valores sociales o
religiosos que han conformado eso que llamamos cultura y que en una dimensión
mayor consideramos como civilización.
Las juglarías en todas sus formas desde la mitología
griega o desde las cosmovisiones orientales que encontramos, por ejemplo en el Ramayana y el Mahabharata, hasta el vallenato colombiano y la cuentística
garcíamarquiana con el acento del realismo mágico, han sido un motor de
incalculable fuerza en la formación del imaginario popular sobre el que se
asientan las naciones del mundo.
Muchas ideologías han sido formuladas sobre —en
términos de Foucault— el juego de la verdad, que no está localizado en algún
pasaje secreto de nuestra mente o pensamiento, sino en las circunstancias de la
vida práctica en relación con procesos específicos de la supervivencia
cotidiana, en los espacios, lugares y tiempos donde las rutinas de las
relaciones humanas se llevan a cabo. Donde se aplican; la visión, la acción y
el juicio sobre los acaeceres de la existencia doméstica, de las relaciones
sexuales, del trabajo y de la interacción con la res publica, es donde el lenguaje
aparece como un instrumento heterogéneo a través del cual podemos darle un
sentido a nuestra existencia y constituir una escencia que nos permite
reconocernos como entes vivos y donde nuestro cuerpo físico, nuestra mente y
nuestros sentimientos construyen los caminos de la vida que nos afirman: somos
y existimos como seres humanos, en el más amplio y profundo sentido de esas dos
palabras.
Pero este no ha sido un proceso fácil, nuestros
pensamientos y sentimientos conviven como una unidad de contrarios donde hay
una lucha permanente entre habilidades, instrumentos, tecnologías que
elaboramos. Las ideas y conceptos forjados a través de una praxis, no solo de
siglos sino de miles de años.
El cuento ha sido parte fundamental de ese
proceso en el cual pasamos de nuestra propia identidad a formar parte de una
identidad social. Todos tenemos una personalidad individual y una social. Esa
personalidad adquiere tintes especiales cuando el entorno y las circunstancias
nos llevan a vivir en el exilio. Hay una diáspora latinoamericana que por
diferentes o similares razones ha tenido que abandonar su tierra nativa. Los
Estados Unidos tienen una población latinoamericana de alrededor de cincuenta
millones. Cada uno trae en su imaginario cultural y en su axiología una carga
infinita de problemas irresueltos, de angustias ancestrales, de desencuentros
sociales, económicos, políticos e intelectuales. Todos cargan sus propios
demonios que quieren exorcizar y no saben cómo.
Es en ese momento donde aparece el escritor, ese médium de la aventura
fantástica que es la literatura para acercarse a ellos y depurarlos a través
del lenguaje, recogiéndolos de su propia
cultura, de su imaginación y de su psiquis en su historia personal.
Sucede con esta antología, un grupo de escritores
exilados de Venezuela, Colombia, Chile; y dos de ellos residentes en México y
Perú. Reúnen sus trabajos con la palabra escrita a través
de una serie de cuentos que encarnan lo que hemos querido describir en los
párrafos anteriores, la interacción individual y social en un mundo que aunque
extraño, cuando recién llegados, se vuelve parte del imaginario nativo para
construir una serie de aproximaciones fenomenológicas sobre experiencias
particulares y el conjunto de preocupaciones psicológicas en medio de las
nuevas realidades que nos convocan.
Aunque la crítica tradicional y académica
establece conjuntos de normas sobre la estructura del cuento, el grupo de
escritores reunido en esta antología presenta características muy especiales en
la forma y el contenido de los cuentos. No necesariamente siguen las normas de
los clásicos, aunque es evidente que algunos tienen una formación clásica,
todos son innovadores. La vida en el exilio y la búsqueda de identidad en las
nuevas realidades hacen que estos escritores sean en cierta manera, unos
revolucionarios en el manejo del lenguaje. Juegan a veces en mayor o menor
medida, con el simbolismo sobre el hecho mismo del suceso narrado, el lenguaje
es en muchos de ellos, el hecho central de sus cuentos. Un cuento decía alguien, es el equivalente a
una fotografía, una novela es el equivalente a una película. Como juega el
ordenamiento de nuestros recuerdos y el bagaje infinito de experiencias que
guardamos en el inconsciente en el momento de escribir, hace que cada uno
aporte su propio estilo y nos sorprenda con su particular manejo del lenguaje.
La vieja discusión del siglo XIX entre naturalismo y simbolismo se inclinó por
el segundo. Si las palabras son símbolos en sí mismas y de los acuerdos
implícitos por la lingüística, encontramos que el lenguaje propuesto en estos
cuentos apela a la imaginación de los lectores en un nivel más profundo y
obliga al acucioso y al novato, a establecer un diálogo donde la lectura toma
giros inesperados en la mente de ese que se hace partícipe de la creación en la
manera cómo interpreta esos textos.
El acto de escribir es fundamentalmente un acto
de honestidad, el verdadero escritor tiene que enfrentarse a lo insólito, tiene
que diferenciar arte de mercantilismo, arte de estilo, arte de técnica, arte de
hiperrealismo o minimalismo, el arte es arte, hay una muy delgada línea que
separa la descripción común de los hechos cotidianos y los convierte en un
discurso verdaderamente literario. No es el discurso de las meta-narrativas, ya
sean estas, el discurso científico, antropológico o historiográfico.
Cuando uno se enfrenta a una narrativa debe
preguntarse qué es lo que predomina, si es el discurso barroco donde existe una
literatura de lo insólito, si es hiperrealista, naturalista o puramente simbólico. Con la novela de Joyce,
Ulises, se probaron todos los estilos y se afirmó el llamado flujo de
conciencia, que permite al escritor recrear los pensamientos de sus
personajes. La historia de todo novelista,
dice Roland Barthes, es la historia de un tema y todas sus variaciones, en el
caso del cuento, la historia requiere de un tema, una trama, un final que sin
obligarnos a seguir la lógica aristotélica, si nos permita reconocer en esa
fotografía los elementos fundamentales que nos cuentan una historia.
La idea de esta antología conlleva algunas cargas
puramente emocionales, algunos recursos puramente imaginativos e incluso
algunas descargas de erotismo que hacen de su lectura una atractiva experiencia
para lubricar la mente, alertar el espíritu y afianzar sentimientos que
transpiran a través de los fantasmas y demonios de los personajes con los cuales quieren liberarse este grupo
de escritores.
Algunos de estos cuentos nos presentan lo
insólito de nuestras quimeras, donde el aspirante a escritor debería
sentirse obligado a seguir la tradición
cortazariana de ese famoso texto titulado “El perseguidor” que se nutre de la
vida del famoso jazzista norteamericano Charlie Parker para mostrarnos el
manojo de contradicciones humanas que deberían marcar la pauta de los
personajes que resultan siendo, los alter-egos, los reflejos o los espejos del
escritor. Toda buena literatura implica
una dualidad entre la vida del artista y su obra, una dualidad que se retroalimenta
en una praxis donde los textos resumen las premisas críticas de las ideologías
y la vida cotidiana de los autores, se funde en lo que podría ser, un triunfo
de la imaginación, el cuento como verdadera obra de arte.
Dadas las características del mundo globalizado
en que vivimos, la revolución tecnológica y la incertidumbre sobre un mundo que
cambia a la velocidad de la luz, una antología como ésta, viene a ser, simple y
llanamente, un triunfo de la imaginación.
Prologue
By Luis Alberto Miranda
In the cultural tradition of all peoples
and the formation of nations, the act of telling stories, the call oral or
written narrative, has been critical to the formation of the collective
unconscious and the body of ideas, beliefs, social
or religious ideologies and values that have shaped what we call culture
and at a larger regard as civilization.
The juglarías in all its forms from Greek mythology or from the eastern worldviews that are, for example, in the Ramayana and the Mahabharata in India, to the Colombian vallenato and the Garcia Marquez’s short stories with the accent of magical realism, there has been a very strong driving force of great value in the formation of popular imagination on which the world's nations are based.
Many ideologies have been formulated on, in terms of Foucault, the game of truth, which is not located in a secret passage in our mind or thought, but in the circumstances of practical life, in relation to specific processes of everyday survival the spaces, places and times where human relationships routines are performed. Where vision, action and judgment on the happenings of domestic life, of sex, of work and interaction with the public administration apply is where language appears as a heterogeneous instrument through which we can give meaning to our existence and form an essence that allows us to recognize ourselves as living things and where our physical body, our mind and our feelings build the roads of life who say to us: we are and we exist as human beings, in the broadest and deepest meaning of those two words.
But this has not been an easy process, our thoughts and our feelings coexist as a unity of opposites where there is a constant struggle between skills, tools, technologies we develop, ideas and concepts forged through a praxis, not just centuries but thousands of years.
The story has been a fundamental part of that process in which our own identity had become part of a social identity. We all have an individual personality and a social one. That personality acquires special dyes when the environment and circumstances lead us to live in exile. There is a Latin American diaspora that for different or similar reasons had to leave his native land. The United States has a Latin American population of about fifty million. Everyone brings their cultural imaginary and axiology an infinite burden of unresolved problems, ancestral fears, social, economic, political and intellectual misunderstandings. Each of these charging fifty million who want their own demons to exorcise and does not know how. It is at that point where the writer, the medium of the fantastic adventure of literature to approach those demons and purge through language, picking their own culture, their imagination and their psyche in his personal history appears.
That is what happens in this anthology, a group of exiled writers from Venezuela, Colombia, Chile and two of them living in Mexico and Peru. They put together their work with letters and literature through a series of stories that embody what we wanted to describe in the preceding paragraphs, the individual and social interaction in a world that although strange when we arrive, it becomes part of the native imagination to build a series of phenomenological approaches on specific experiences and psychological concerns set amid the new realities that bring us together.
Although traditional and academic criticism establishes sets of rules on the structure of the story, the group of writers gathered in this anthology presents very special characteristics in the form and content of the stories. Not necessarily follow the rules of the classics, although it is clear that everyone has a classical training, all without exception are innovative. Life in exile and the search for identity in the new realities make these writers are in some ways a revolutionary in the use of language. Sometimes play a greater or lesser extent, with the symbolism of the fact narrated event itself, the language is in many of them, the central fact of his stories. A story, has been said, it is the equivalent of a photograph, a novel is the equivalent of a movie. As plays the ordering of our memories and the infinite wealth of experience that we keep in the unconscious at the time of writing, it causes each brings his own style and surprise us with his particular use of language. The old argument of the nineteenth century between naturalism and symbolism leaned symbolism. If words are symbols in themselves but also symbolize the implicit agreements linguistics, we find that the proposed language in these stories appeal to the imagination of readers to a deeper level and requires the diligent reader and the novice, to establish a dialogue where reading takes unexpected turns in the mind of the reader who becomes part of the creation process plays in how those texts.
The act of writing is fundamentally an act of honesty, the real writer has to face the unusual, has to differentiate art from mercantilism, art style, art technique, art of hyper-realism or minimalism, art is art, there is a very thin line between the common description of daily events and when it becomes a truly literary discourse. It is not the speech of the meta-narrative, whether these, scientific discourse, anthropological discourse or historiographical discourse.
When one is faced with a narrative you must ask what prevails if the baroque discourse where there is a literature of the unusual, whether it's a hyper speech, naturalistic or purely symbolic. With Joyce's novel, Ulysses, all styles were tested and called stream of consciousness, which allows the writer to recreate the thoughts of his characters he said. The history of every novelist, says Roland Barthes, is the story of a topic and all its variations, in the case of the story, the story requires a theme, plot, an ending that without forcing us to follow Aristotelian logic, we recognize in that photograph the fundamental elements that let the author tell a story.
The idea of this anthology brings some purely emotional burdens, some purely imaginative resources and even some downloads of eroticism that make reading an engaging experience to lubricate the mind, spirit and strengthen alert feelings transpire through ghosts and demons characters with whom want to free this group of writers.
Some of these stories show us the strangeness of our chimeras, where aspiring writer should feel obliged to follow the tradition of the famous Cortazar’s style text entitled "Tracker" that taps into the life of the famous American jazz musician Charlie Parker to show the bunch human contradictions that should set the tone of the characters that are going to be the alter-egos or reflections and mirrors of the writer. All good literature implies a duality between the artist's life and work, a duality that feeds into a praxis where texts summarize the critical assumptions of ideologies and the daily lives of the authors melts in what could be a triumph of imagination, the story as a true works of art.
Given the characteristics of the globalized world we live in, the technological revolution and the uncertainty of a changing world at the speed of light, an anthology such as this, turns it into, quite simply, another triumph of the imagination.
The juglarías in all its forms from Greek mythology or from the eastern worldviews that are, for example, in the Ramayana and the Mahabharata in India, to the Colombian vallenato and the Garcia Marquez’s short stories with the accent of magical realism, there has been a very strong driving force of great value in the formation of popular imagination on which the world's nations are based.
Many ideologies have been formulated on, in terms of Foucault, the game of truth, which is not located in a secret passage in our mind or thought, but in the circumstances of practical life, in relation to specific processes of everyday survival the spaces, places and times where human relationships routines are performed. Where vision, action and judgment on the happenings of domestic life, of sex, of work and interaction with the public administration apply is where language appears as a heterogeneous instrument through which we can give meaning to our existence and form an essence that allows us to recognize ourselves as living things and where our physical body, our mind and our feelings build the roads of life who say to us: we are and we exist as human beings, in the broadest and deepest meaning of those two words.
But this has not been an easy process, our thoughts and our feelings coexist as a unity of opposites where there is a constant struggle between skills, tools, technologies we develop, ideas and concepts forged through a praxis, not just centuries but thousands of years.
The story has been a fundamental part of that process in which our own identity had become part of a social identity. We all have an individual personality and a social one. That personality acquires special dyes when the environment and circumstances lead us to live in exile. There is a Latin American diaspora that for different or similar reasons had to leave his native land. The United States has a Latin American population of about fifty million. Everyone brings their cultural imaginary and axiology an infinite burden of unresolved problems, ancestral fears, social, economic, political and intellectual misunderstandings. Each of these charging fifty million who want their own demons to exorcise and does not know how. It is at that point where the writer, the medium of the fantastic adventure of literature to approach those demons and purge through language, picking their own culture, their imagination and their psyche in his personal history appears.
That is what happens in this anthology, a group of exiled writers from Venezuela, Colombia, Chile and two of them living in Mexico and Peru. They put together their work with letters and literature through a series of stories that embody what we wanted to describe in the preceding paragraphs, the individual and social interaction in a world that although strange when we arrive, it becomes part of the native imagination to build a series of phenomenological approaches on specific experiences and psychological concerns set amid the new realities that bring us together.
Although traditional and academic criticism establishes sets of rules on the structure of the story, the group of writers gathered in this anthology presents very special characteristics in the form and content of the stories. Not necessarily follow the rules of the classics, although it is clear that everyone has a classical training, all without exception are innovative. Life in exile and the search for identity in the new realities make these writers are in some ways a revolutionary in the use of language. Sometimes play a greater or lesser extent, with the symbolism of the fact narrated event itself, the language is in many of them, the central fact of his stories. A story, has been said, it is the equivalent of a photograph, a novel is the equivalent of a movie. As plays the ordering of our memories and the infinite wealth of experience that we keep in the unconscious at the time of writing, it causes each brings his own style and surprise us with his particular use of language. The old argument of the nineteenth century between naturalism and symbolism leaned symbolism. If words are symbols in themselves but also symbolize the implicit agreements linguistics, we find that the proposed language in these stories appeal to the imagination of readers to a deeper level and requires the diligent reader and the novice, to establish a dialogue where reading takes unexpected turns in the mind of the reader who becomes part of the creation process plays in how those texts.
The act of writing is fundamentally an act of honesty, the real writer has to face the unusual, has to differentiate art from mercantilism, art style, art technique, art of hyper-realism or minimalism, art is art, there is a very thin line between the common description of daily events and when it becomes a truly literary discourse. It is not the speech of the meta-narrative, whether these, scientific discourse, anthropological discourse or historiographical discourse.
When one is faced with a narrative you must ask what prevails if the baroque discourse where there is a literature of the unusual, whether it's a hyper speech, naturalistic or purely symbolic. With Joyce's novel, Ulysses, all styles were tested and called stream of consciousness, which allows the writer to recreate the thoughts of his characters he said. The history of every novelist, says Roland Barthes, is the story of a topic and all its variations, in the case of the story, the story requires a theme, plot, an ending that without forcing us to follow Aristotelian logic, we recognize in that photograph the fundamental elements that let the author tell a story.
The idea of this anthology brings some purely emotional burdens, some purely imaginative resources and even some downloads of eroticism that make reading an engaging experience to lubricate the mind, spirit and strengthen alert feelings transpire through ghosts and demons characters with whom want to free this group of writers.
Some of these stories show us the strangeness of our chimeras, where aspiring writer should feel obliged to follow the tradition of the famous Cortazar’s style text entitled "Tracker" that taps into the life of the famous American jazz musician Charlie Parker to show the bunch human contradictions that should set the tone of the characters that are going to be the alter-egos or reflections and mirrors of the writer. All good literature implies a duality between the artist's life and work, a duality that feeds into a praxis where texts summarize the critical assumptions of ideologies and the daily lives of the authors melts in what could be a triumph of imagination, the story as a true works of art.
Given the characteristics of the globalized world we live in, the technological revolution and the uncertainty of a changing world at the speed of light, an anthology such as this, turns it into, quite simply, another triumph of the imagination.
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3 comentarios:
Maria Gabriela Madrid dijo:Que emoción Emoticón smile ... Ya pronto , muy pronto estará para todos en amazon.com. Maria Gabriela Madrid Emoticón smile.
A continuación lo escrito por José Díaz Díaz (Co-editor, Co-antólogo y Director de la Caverna,escuela de escritura creativa en Florida), el prólogo de Luis Alberto Miranda (en inglés y español), con óleos de Chenco:).
"Gracias escritora Maria Gabriela Madrid por tu triple participación en la Antología bilingüe 2015 de La Caverna, escuela de escritura creativa. Por la Co-edición, por tus excelentes cuentos y por la traducción".
I am so excited Emoticón smile ... Soon, very soon this anthology "Muestrario de ficciones hispanoamericanas/Showcase of Latin American Fiction would be at amazon.com. Maria Gabriela Madrid.
Enclosed is the comment written by Jose Diaz Diaz (co-editor,co-writer and Director of the Cavern, school of creative writing in Florida) and the prologue of Luis Alberto Miranda (In english and spanish), and Chenco's paintings.Emoticón smile
"Thanks to writer Maria Gabriela Madrid for her triple participation in the Bilingual Anthology 2015 of the Cavern, school of creative writing. For her co-edition, for her excellent short stories and her translation"
Dioly Araque-Garcia Gracias Maestro Jose Diaz Diaz , Gracias! Maria Gabriela Madrid. Ustedes son un gran equipo, de profesionales de la edición y del género Literario. Mi agradecimiento a la vida por este encuentro de escritores y por la oportunidad. La honestidad es la ruta de el éxito. Vamos bién!
Ya está disponible en la plataforma de Amazon las dos versiones en español e inglés, y en formato kindle y papel el libro: MUESTRARIO DE FICCIONES HISPANOAMERICANAS. Ordénalo ya.
Link:
http://www.amazon.es/Muestrario-Ficciones-Latinoamericanas-Jose-Diaz/dp/1519768982/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1450457603&sr=1-2-catcorr&keywords=jose+Diaz+Diaz+Muestrario+de+Ficcioneshttp://
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