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As the previous quotation suggests, his narrative develops from the idea that images—in particular photographic images—can say something that cannot be expressed by words alone. These novels are structured around the evocation of memories, dialogues, or small stories that arise from the contemplation of photographs.
In Los pla- netas, the protagonist remembers when he and his friend—who disappeared during the Argentinean dictatorship—exchanged photographs in a ritual that sealed their friendship.
The picture of the dead friend evokes a nonsuccessive temporality. The plot is woven around this identity exchange and the fateful yet arbitrary fact that one friend disappeared and the other did not.
One scene synthesizes this idea in a graphic fashion: the two friends are walking on the street when another person calls them. In Los incompletos, there is a situation that illus- trates this further.
The first thing that he notices is the large size of the handwriting and how it resembles drawings. Los planetas talks obsessively about the lack of symmetry that is inaugurated by death. He becomes love- sick and dies in agony. It is not simply a change in the content of perception. It is not that he sees different things than previously although this also happens , but rather that it is the type of perceptive register which changes.
Barroso reconstructs the departure of his wife and obsessively repeats his own actions.
The link between this mode of perception and the photographic register is spelled out clearly in the novel. By making the text act like a chain of blocks, it pro- duces the illusion that the succession characteristic of the linguistic order is eliminated. From the nineteenth century on, the illusion of reality in classical realism was constructed from a convention: verisimilitude. How, then, does Chejfec attain a realist effect?
Explaining his own narrative project, Noll uses a metaphor that can help to understand this. All of these metaphors suggest a desire to capture a mea- sure of materiality through language. This is attained through textual construction of the photographic image that makes the text move from a symbolic to an indexical register.
According to Charles S. Peirce, the indexical sign works neither by conven- tion as a symbol nor by analogy as an icon; rather, it operates through an existential link with that which is represented. That is, it relies on the mechanical transference of a luminous exposure onto a sensitive surface. All photography is the result of a physical imprint, and this differentiates the photograph from the pictorial image.
The painted portrait of an object resembles the object, but a photograph has more than an analog- ical relation to the object. Of course, with the advent of digital photography, this imaging process has been transformed.
Today, when looking at a photograph, it is very difficult to know whether the image maintains such contiguity with its object, or whether the image has been digitally manipulated. On the digital photographic image, see Carol Squiers and Martin Lister.
A text has no tracks, no material remains in the written word that can render a reality different from the words themselves.
Such a text possesses no figuration but rather attempts to retain certain material or bodily remains. In this sense, my argument is not about postulating a kind of ontology of literature; rather, I wish to understand the ontological rhetoric displayed in it. In El aire, this discursive limit revolves around social abandonment and marginality. Dur- ing his adventure, the protagonist Barroso discovers a new perspective on Buenos Aires and its inhabitants, finding a world of decay and social degra- dation.
Just as he has been abandoned, so has the city. Soon, the protagonist concludes that the lives of city dwellers cannot be entirely thought of as being human: they are completely desubjec- tivized.
However, this is not due to an individual disease but to a social one. That is how we can read its title, as incorporating an absence. In fact, beyond this sur- face appearance, Chejfec offers a perspective on social and political aspects of the present.
People of the city literally lose their capacity to speak, and the absence of articulated language turns them into animals. At that moment, an obstacle appears. He stops and decides not to enter an area filled by darkness. However, Barroso finally does walk through this area the text talks about it and shows it to us. A scene at this juncture of the novel makes evident that the indexical presence indicated by photography is a privileged medium for depicting social marginality.
As Barroso moves forward through this highly degraded, run-down part of the city, he finds two lost boys crying loudly. The text shows that, through the indexical presence conveyed by the photographic register, it is possible to illustrate something about abandonment, whether it stems from love as with Barroso or the children or from social conditions as with the city and its inhabitants. While the novel acknowledges the existence of something unspeakable and the inadequacy of the discursive register to name the world, the narrative nevertheless moves forward and the protagonist continues walking through the city.
He appropriates the avant-garde technique of destabilizing narra- tive by imitating the logic of the image precisely to produce a different mode of narrative that can point at something exterior to the text. In this way, his work repeatedly questions how the world speaks in an effort to make literature speak.
The latter constantly reflects on the texture of paper and the marks of writing. In Boca de lobo this concern is also present. A man who remembers his relationship with Delia, a factory worker, narrates the novel.
Boca de lobo is about sexual desire and work, but more specifically it is about certain elements of animality, corporeality, or automatism in relation to sex and work. It highlights the tribal, primitive, or animal aspect of the world of workers where desubjectivization predominates.
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