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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.