"Being National Literature Marechal, Borges and Sabato" 
FOREWORD OSVALDO VERGARA BERTICHE BE NATIONAL CULTURE
and Héctor Roberto Paruzzo is author of the paper "National Being and Literature", the We show in this release the first part: "The National Being Literature Marechal, Borges and Sabato" and as he warns, "is an attempt to trace in the literature of three of our leading exponents," taking the first its three novels: "Adam Buenosayres", "The Banquet" and "megaphone", because "in the comings and goings of the characters are raised and discussed all the problems about the meaning and destiny of our nation," the story "The South" the second in which "illustrates the discord of the double line, European and Creole," while "On Heroes and Tombs" of the third, the cry of the intellectual torn Bruno: "The national, my God, what was the national! - Take us to the crux of the matter ".
Also states that" eventually the genre of the novel is an anthropology, and therefore a valid instrument for the investigation of the national ".
is in" Culture and a national "where Juan José Hernández Arregui said that" Through the successive reductions applied to the concept, we see that the national being dry is not a category of spirit. It is a live political event by multiple factors bolted natural, historical and psychic the historical consciousness of a people. " (...) The national being expressed as national culture. But what is culture? In its brief definition is the set of material and spiritual goods produced by a human group, and gives way to coexistence and coetaneous of a national community, more or less homogeneous in their psychological characterization compared to other communities "While
the "national" must sees "identity" and this in turn with the quake, with the magnetism of the land that defines the personality and primeval, this is where there is a big flaw: it is part of prejudgment and thus no knowledge is transmitted from the deep past is unknown, there is widespread dissemination of the history and old passions remain dormant on the thinking and actions of the protagonists.
"Argentines have and we know who we are, be clear about our identity, what is our national consciousness. Do not be clarified on this, you run the risk of being absorbed culturally egocentric or behave as sectarian."
latter means that we must adhere to any universal manifestation, and above the individual target share in the common destiny of humanity. At least in this we are one with the whole and not to join in an encompassing concept, but rather is involved in all without compromising the identity.
be clear that we are and where we go, without sacrificing the cultural individuality, shared with all the world our approach to life, compatibility concerns, desires and ideals and discuss proposals for a better world, but not subtract join efforts to achieve the ultimate integration of what is now termed the "global village" the "common house", as a result of globalization.
But to fully participate in this concept we have to check the meaning of "what is to be Argentine" and not "what we imagine to be." Have the courage to recognize our limitations and from there to work with authenticity creating national consciousness and defining our self as a nation.
national consciousness is formed from an identification with that past which continues to be national.
We must, therefore, to recreate the love of history, which are the basis of nationality. It is in history where the common thread that will save the potholes that disrupt the horizontality and continuity of life as a nation.
And in that story, among many others, is the poetic and literary works of our authors. It is from there, where Paruzzo, invites us to take a specific look Marechal, Borges and Sabato. Leopoldo Marechal
left a literary work that includes poetry, novels, plays and essays. He was a teacher and a secondary school teacher and no doubt a man committed to the national. He says: "I think a poet is truly where the voice of the People, that is, when it expresses in its essence, when told by those who do not know how to say and sing for those who can not sing," adding: "The man by the mere fact of birth is committed, and no compromise is a way of engaging .(...) Do you know that during a storm the lion faces the wind so the fur does not mess up? I do the same: give the face of all problems is the best way to keep hair. "
In the case of Jorge Luis Borges, Marcelo Pichon Riviere who gives us some signs to support that "if the work of a writer is not important, is the memory of their gestures, certain anecdotes of their passage through this or that magazine or literary movement. Its shares become ghostly, like distant sounds in a beach dominated by the incessant noise of the sea. "But" when his books, however, have built something solid and multiple readings draw the map of an imaginary library, the author has gone to stay. His tomb is a stronghold, his books, weapons that are brighter than the darkness. Because, really, after his death, the writer began his real challenge: to live in their texts without strategic appearances in the media, no controversial acts that ignite interest or contempt. "
And this is the feat without a break has undertaken the work of Jorge Luis Borges. A Borges, who is still some question.
Perhaps there are those who do so for a simple intellectual blindness, or ignorance of the totality of his work or why not, for a tiny glimpse of what it means to political antagonism.
In 1923, before embarking on his second trip to Spain, twenty-four years old, Borges published his first book, "Fervor de Buenos Aires", where emotionally confess that, finally, "the streets of Buenos Aires / already my core. " Are thirty-three poems so heterogeneous that refer to a card game (the trick), Juan Manuel de Rosas, exotic or Benares, although also delights in a courtyard anonymous "in the dark friendliness / a porch, arbor, and a cistern." Borges has written that "at that time looking for the sunsets, the slums and misery"
And in 1925, back in Buenos Aires, he published another book of poems, "moon face", where the young Borges exalted nationalism is resolved elegiac verses as: "Pampa / I descry your delves outside width, / I'm bleeding to death in the sunsets."
In 1926 published a book of essays "The size of my hope." In this work, the fervor for the Argentine Borges knows no restraint. So say that "the plain and the suburb are gods, and 1928 comes to light the essay "The Language of the Argentines."
appear In 1929 the famous verses of "Mythical Foundation of Buenos Aires." And in 1930, when the tragic Strike Uriburu to democracy, is the year of publication of Carriego Evaristo, "which proposes a kind of fanciful biography of the poet.
was published in 1935, his famous "Universal History of Infamy." This collection contains the famous story "Man on Pink Corner" where Borges somehow still carving the mythical profile Buenos Aires started in "Evaristo Carriego." "In this sense, it seems clear that the territory is utopian Borges Buenos own Transubstantiated Aires so legendary. "
In 1960 appears" The Maker ", a collection of short texts and poems dedicated to Leopoldo Lugones. And in 1964 published the poetry collection" The Other ", the same, containing his famous poem conjectural "that elaborates on the assassination of the hero Francisco de Laprida:" I who longed to be someone else, be a man / of statements, books, opinions, / open will lie between swamps, / but I deifies unexplained chest / a secret joy . At last I find myself / with my South American destination. "In 1965 he published a book of letters of milongas.
When in 1983 Borges was invited to visit the Normal School" Mariano Acosta " who met 109 years, students will read an anonymous tenth payador unknown. Everyone knew that the minstrel was not unknown, but it was Elijah Carpenter, who with eighty-five years, revived the old office of the gauchos.
When he finished tenth, Borges patted his shoulder and said payador. "Excuse me, Carpena, I have brought in a car, I, really, wanted to come riding on a piebald pink ...». "In an overo Rose ..." like that of Faust Estanislao del Campo, "freight new couple ...."
Borges himself says that "one person asked me: If you were born here Where would you have liked to be born?. In Tucumán and Suipacha street in Buenos Aires. I told him because the question was made with malicious intent. She wanted me to stay on as a traitor and say I wanted to be born in Scotland or Norway. Or better yet: In Texas. But no: I had wanted to be born in Buenos Aires, I'm sorry. I used to be who I am. Had he been born anywhere ... In Yorkshire ... would not I who was born there, but someone else ...".
list would be extensive and written situations that show the writer within the national spectrum of Argentines. Summing up we can say as Beatriz Sarlo that " Borges, cosmopolitanism is the condition which makes it possible to invent a strategy for Argentina literature.
And Paruzzo alert saying "let's face it, Borges is the most typical and genuine representative of a cosmopolitan country, fed by several rivers immigration, they are still amalgamating.
Ernesto Sabato, for his part, says: "The current literature should be interpreted or judged within the context of the total crisis of our time. Literature is moving ever closer to philosophy. The contemporary novel is the most complex of the spirit. Argentines language has its own justification and validity and should be used in the work without prejudice. The novel seeks a new land of hope in this world of wars, and it is a form of salvation. "
A Sabato also worth reading is that, less pessimistic and hardly apocalyptic, which took a deep look at our character through the tango.
In "Tango, discussion and key", which he dedicated to Borges Sabato, the most interesting of the book are the first five parts: "hybridism", "Sex," "Unhappy", "Bandoneon" and "Metaphysics", where the writer plunges his pen, with the thoroughness and patience of a scalpel, in the depths of the soul of Argentina in the big city.
In "hybridism" for example, disputes with the pilgrim spirit controversial thesis of Carlos Ibarguren: "The Argentine tango is not." Sabato argues that the hybridism, ie the mixture of cultures (acculturation), besides being unavoidable, is always fruitful. "Even those Olympian Greek gods, that some teachers represent the epitome of purity, can exhibit an impeccable pedigree indigenous" he says.
also, perhaps recklessly, says that tango is not merely a lascivious dance. "I think it's exactly backwards," and proves it by saying that "artistic creation is an act almost invariably antagonistic vanishing act of rebellion "in this case, an escape from the brothel, the piringundines underworld.
In "Unhappy" Sabato draws a ruthless figure of the Argentine, from the idea that the tango is "a sad thought that is danced." In "Bandoneon" outlines its history, but continues by outlining the "essential features of the country ...: mismatch, nostalgia, sadness, frustration, drama, discontent, resentment and the problematic nature." Sabato concludes with "Metaphysics", diagnosis, openly, about being in Argentina.
also wondered: "What are we? Where do we go? What truth is our country? And he answers: "We are something new that really is brewing here, something truly original in this chaos of races and cultures ... literature, this hybrid expression of the human spirit that lies between pure art and thought, between fantasy and reality can leave a profound testament to this predicament, and perhaps the only creation that can do it ...".
In conclusion it can be seen both references mentioned in this introduction and the excellent work of Héctor Roberto informed Paruzzo, which is of particular importance in determining the site of national memory, to venture into the whole literary work of these authors rescue ourselves from them as well, not forgotten, keep the fruitful experiences in order to exist and to transmit values \u200b\u200bfrom generation to generation. Introduction
ROBERTO HECTOR PARUZZO
literature, because language is fiction. However, for that matter, is a reflection of the problems of the human soul and its discussion in the real world. One such problem is that of identity, both individually and collectively. And here comes the much-buffeted and discussed the problem of national identity.
Ours is an attempt to trace in the literature of three of our best examples:
Leopoldo Marechal, Jorge Luis Borges and Ernesto Sabato. The
take their first three novels: "Adam Buenosayres", "The Banquet" and "megaphone."
In the comings and goings of the characters are raised and discussed all the problems about the meaning and destiny of our nation.
The story "El Sur" illustrates the discord of the second double line, European and Creole.
While "On Heroes and Tombs" of the third, the cry of the intellectual torn Bruno "The national, my God, what did country?" us to the crux of the matter. Finally
postulate that the genre of the novel is an anthropology, and therefore a valid instrument for the investigation of the national.
Note: This text, now updated, was presented as a paper at the First Conference of Culture and National Identity, held in the Centro Cultural "Bernardino Rivadavia" in September de1986, then released in pieces in the magazine "Acting" , from No. 1, May 1992, Rosario.
NATIONAL BEING IN THE LITERATURE OF MARECHAL, Borges and Sabato
Basically the literature, because language is fiction. What is the meaning of being a verbal construction, a cosmos of words. The best example of this is the "Ulysses" by James Joyce, where the only real character is the language. And aptly says Anderson Imbert: "Literature is one form of fiction. Fictio-onis fingere comes from, which in Latin meant, first pretending, lying, cheating, and secondly, shaping, compounding, kneading" Y added with successful approach: "The literature, all of it, is always fiction. And looking good, is not fiction as we think? The literature is certainly not the only human activity that falsifies and distorts reality. Even science does. Only that science does in spite of it and instead distorts literature and distorts the reality of purpose. " (1)
To which I add that, however and for that reason exactly, is a reflection of problems of the human soul and its discussion in the real world.
German Expressionism, with its exasperated distortion of reality, has managed to express the contemporary man tearing better than any historical document. Even, as in the case of Kafka, literature is an advance on the symptoms cause discomfort future of civilization. That also happens to Sade, Dostoevsky and others and in some way with Artl in our country.
One of the problems, we would say that basic human soul is that of identity, both individually and collectively. And here is sufficient to quote the famous words: "do not live by bread alone man, indeed material other than safety, man needs to live a sense, therefore it is essential to know who and where it is located. Hence the religion, philosophy, sociology, anthropology and so forth.
But beyond our focus out to investigate these areas of human. We limit ourselves to literature. Within this, we will mention in passing that the romantic, especially Germany, is the one that took a dive in the national characteristics of each town through folklore.
say in passing, because I want to go directly to my topic and take Argentina contemporary literature only three of its authors to make tracking "My aim is not other-the so shaken and discussed the problem of national identity. They are
Leopoldo Marechal, Jorge Luis Borges and Ernesto Sabato. Needless to ponder these exponents of our letters. If you apologize for neglecting other authors as significant as these, the case of a Mallea, for example. But that would require a study of more vast proportions and is beyond the preset limits for this job.
think, moreover, that the three writers chosen are contained all the design approaches that question, indeed, I would argue that all thinking Argentina from Sarmiento to Martínez Estrada is experientially discussed by the characters of "Adam Buenosayres" or "On Heroes and Tombs" (where is questioned Hernández Arregui).
Therefore, in these two great novels, and Sabato Marechal respectively, as in the story "THE SOUTH" by Borges, and in the third and last of the first author said, "megaphone or WAR, we find implicitly or explicitly, with his two Argentine Mallea, visible and invisible, and the original trial that was Scalabrini Ortiz with his "man standing alone and waiting."
The latter, in the form of "never sufficiently praised pony Bernini", we'll live and live as one of the protagonists of "Adam." In this novel, and we are already fully installed in our case, Marechal martinfierrista evokes adventure in which he participated (Adam is just his own transcript).
The action takes place in the decade of the twentieth, mythical and unforgettable, the famous and florid Florida and Boedo brawls in which our literature has grown in content and form, hence, with other names, we see in the novel appear in leading roles, apart from the said Scalabrini, Borges (Luis Perez), Xul Solar (the astrologer Schultze) Francisco Luis Bernardez (Franky Admusen) and James Fijmann (the singular Samuel Tesler), among others.
I can not, given how big it is, treat the entire book, I will say that, published in 1948, was forgotten on the shelves of the Editorial Sudamericana until 1965, when it was called boom of "The Banquet of Severo Arcangelo "(the second novel by Marechal) boom that rescued not only the first but the author himself, who had suffered a boycott of nearly 10 years after the fall of Peronism in 1955, due to their party.
In this book is about the spiritual crisis of the poet Adam Buenosayres (which is like saying the first man in Buenos Aires), which is the same writer who, after living it would return to the bosom of Catholicism. In other works of mine have made it clear that neither the Marechal Peronism was a fan and his Catholicism closed. (2)
What interests us here is rather mundane adventures of the character and, above all, the third book, which tells the famous tour "malevi-FUNEBRI-Putani-suburban" and is an attempt of inquiry Creole roots. Let's see.
This ghostly farce that is the issue to the suburbs of Saavedra, all the controversies that were stuck, while divided, the intellectuals of that generation, revived in the form of symbols and allegories. Thus, in the middle of the night, the heroes of this journey (which aims is to attend a funeral where they know they will one mentao daddy) will see the emergence of the Indian, the gaucho, the cocoliche, neocriollo, etc., and give more time for reactions found. Quote from some long, depending on whether you can appreciate the mechanics of narrative and style.
"Del Solar did not justify the anachronistic lament Bernini (just disappear in the dark the Indian raid) for the extinction of a race which, after all, pertained more to the prehistory to the history of Argentine . But (there was the mother of sheep), that indigenous roots, shortly before his death, had left in the pampa an offspring suffering, an extension of his blood, a crucial type flower of war. And to hear these remarks of the guide, one image came to mind and adventurers came to his lips in a word: the Gaucho!
- The gaucho 'said Del Solar in funereal tone -. Born of love or hate (who knows!), We see work on the foundations of the country, dark, yes, but with the darkness of the foundations, underground, maintain all external grace architecture.
- The picture is good - Adam Buenosayres recognized, by dint of an expert.
- A clear-maligned Franky plagiarism. Despite
However, most of the heroes showed their pious attitude that is given over to the emotion of that memory. But in the group were two men whose hearts, perhaps hardened glacial pole of metaphysics, no signs of any tenderness, were Samuel Schultze Tesler and astrologer.
- Death of Literature - Samuel muttered - has invented an incredible story about a poor mestizo. The gaucho of the legend never existed.
- What has not existed? - Shouted Pereda full of righteous indignation -. Since colonial travelers to the chroniclers of the past century ... But Schultze spoke
here resolutely
- I admit the existence of the gaucho - declared -. But it was as described in the poetry, if it was rebellious to any order system without hierarchical principles, thug and a vagabond, I think it is gone.
God, and stir to be assembled in the field of creolists not so great either Schultze had uttered blasphemy!
- If the gaucho is dead - he called Del Solar - is because we killed the Americans like you!
- The defeat of Santos Vega - Adam mysteriously ruled ... "(3)
And this invocation causes the appearance of the legendary character. It really is to continue reading. But enough with this one example to see what basis are the issues faced. The leiv-motif is the quest for "Earth Spirit" (the influence of German romantic literature-Escabrini Bernini Ortiz) through anthropological pose (American Indian origin), geological (soil formation Pampa) and historical-social ( fate of the Aborigines, immigration, uprooting Argentina), the Creole (questioning of the metaphysical exaltation by the Upper Room outskirts led by Perez-Borges.
now ask me what is the position of the Marechal own. I will answer, trying synthesize, it is the picturesque oppose any mystification that separates us from a more genuine interpretation of Argentine man and an American. With great balance, without snobbery-European chauvinism but naive, he tried to integrate the European cultural heritage with Hispanic roots, what he called "the embrace of Homer with Santos Vega."
Of course, one can not rule Marechal conception mythic-religious-metaphysical. In this regard I refer those interested to book Graciela Coulson: "Marechal, passion metaphysics" or my article "The esoteric in the work of Marechal." (4)
Within this context, our author concerned the possible fate of Argentina as well as the causes of frustration National: "The story is also an art of the possible! Before our eyes we have the scenario (geography), the actors are ready (a village) and the notion of drama or comedy to be represented there (the national happen). Suddenly a great weakness, a total neglect of the instructions, an abandonment of the stage, the actors and the drama! What happened here? An abortion from happening? ". (5)
"Megafón or war", which belongs to this appointment, was the Marechal posthumous novel, published in 1970, the year of his death. It distinguishes three successive Argentine, who called men of action, betrayal and repair for to as many stages of our history.
The third type would be played by the intellectual neo-idealism as the protagonist of the play, which uses two battles, one terrestrial and one celestial. The aim of the first is to expose the negative characters: the general-president, the economist, the oligarch, the capitalist, the U.S. ambassador, the cardinal, and so on.
The second, with a root-mythic occult, the metaphysical search for identity to be a national of Argentina.
Marechal To conclude we will refer to their ultimate hope, embodied in the metaphor of the "homeland" snake "and where we find the echo of Argentina's visible and invisible Mallea.
"You recently spoke of a" people "dipped" - tells Megafón the chronicler of his "battles" - and I would say that truth is more cheerful. It is true that the old peeling sticks and stifles outside, but the Viper has already built another skin beneath her. So that now, while consuming external figurones death with a dignity and putrefaction of a style, the inner skin of the Viper wants to surface and show their scales bright sun. Do you understand? (6).
And that means, but in the plural, can be directed to all Argentines.
Let's move to Borges, who otherwise appears personally at both ends of this work, and questioned first in the "Adam" is advocated later in his Argentine "On Heroes"
"sent him to study Greek at Oxford, we are told in the first - and literature at the Sorbonne and philosophy in Zurich, and then return to Buenos Aires to get up to a criollo verija phonograph! " And later added: "The trouble is that Don Luis had wanted to take their literature suburban mystical fervor to the point of inventing a false mythology, where the locals take on outlaws, not only heroic proportions, but even vague outlines metaphysics. " (7)
Since that time almost 22 years, he has been criticizing Borges, not only his Creole (*), but also everything that relates to his work, his life and his death in Switzerland.
Repeated ad nauseam, that allegations are well known: foreign "stateless oligarcón with an uncompromising literature and back to the country, to be the best English-speaking writer, beloved son of the British crown, and other things even stronger. Currently, in 2001, seems to reverse this situation and Borges is already a projection Argentina international glory.
But I could see, when I've given talks about it lately, which remains for many a bad word and when I defend it insulted me every time I made a few notes on television.
And not only in our country but that also happened in Montevideo, where the Uruguayans were offended that our author had treated Artigas smuggler. Those things! But neither before nor now reads, or at least read it seriously. (*)
Faced with this denial of the Argentine Borges Sabato it goes out in his "On Heroes and Tombs": "What could it be but Argentine-Bruno responds to Martin, is a typical domestic product. Even his Europeanism is a national . A European is not Europe: European just ... There is something very Argentinian is his best things: a certain nostalgia, a sadness metaphysical ... Actually say silly things about what should be the literature of Argentina. The important thing is to be deep. And if not deep is useless to put gauchos or hoodlums is scene. The most representative writer of Elizabethan England was Shakespeare. However, many of his works are not even developed in England ... And what amuses me most is that Mendez repudiate the European influence on our writers.
"Based on what? This is the most fun, in a philosophical doctrine elaborated by the Jew Marx, Engels German and Greek Heraclitus. If we consistent with those critics should write Querandí on hunting the ostrich. Anything else would be adventitious and unpatriotic. Our culture comes from there. How can we help? And why avoid it ... True atheists are indifferent, cynical. And what could be called atheism of the country are cosmopolitans, those individuals who live here and could live in Paris or London. They live in a country and a hotel. But let's be fair: Borges not one of those, I think it hurts the country in some way, though of course it does not have the sensitivity or generosity to hurt the country that can hurt a field laborer or a worker Refrigerator. "(8)
And let's face it, Borges is the most typical and genuine representative of a cosmopolitan country, fed by several rivers immigration, they are still amalgamating:
" Six million Argentines - Bruno exclaims intellectual , transcript of Sabato himself - English, Italians, Basques, Germans, Hungarians, Russians, Poles, Yugoslavs, Czechs, Syrians, Lebanese, Lithuanians, Greeks, Ukrainians. Oh Babylon, the Galician city of the world's largest, the largest Italian city in the world, and so on.
more pizzerias in Naples and Rome together. "The national! My God! What was the national? "(9).
The absurdity is that Borges who criticize us, the descendants of all these immigrations products and fruit of all contradictions. Moreover, these critics do not call or Pincén Ñancul but have resonant names Italic, English, French, and even British. And forget that Borges is descended from the heroes and legislators who shaped the country, which also carries in his veins the blood of Indians, so we could say, "There is Buenos Aires. The time it brings men love or money, I just let me off this rose, this empty maze of streets repeating the names of my blood pasts: Laprida, Cabrera, Soler, Suarez ... Names that resonate secret and targets, the republics, horses and happy mornings victories, military deaths ... ç
And this poem Martin repeats the protagonist of "On heroes ...", Alejandra Vidal Olmos, a symbol of the soul tormented Argentina.
In my case, if I had to show the Argentine Borges, take his first three books of poetry: "Fervor de Buenos Aires", 1923, "moon face", 1925, and "Book of St. Martin" (* ) 1929, but I will refer only to the introduction of his story "The South"
"The man who landed in Buenos Aires in 1871 named Johannes Dahlmann and was pastor of the evangelical church, in 1939, one of his grandsons Juan Dahlmann, was secretary of a municipal library in the street and felt deeply Córdoba Argentina.
Her maternal grandfather had been that Francisco Flores, 2-line infantry, who died on the border of Buenos Aires speared by the Indians in Catriel, in the enmity between their two families, Juan Dahlmann (perhaps driven by the Romantic blood) that ancestor chose the romantic or romantic death. A box with the daguerreotype of a bearded, expressionless man, an old sword, joy and courage of certain music, the strophes of Martin Fierro, years, boredom and loneliness, to foster this criollismo voluntary, but never ostentatious ...". (11)
Needless to say that this passage is autobiographical. "They're just false circumstances, time and one or two names, "as he would in another story," Emma Zuns. "Indeed, Borges was a librarian at the time, his grandfather was actually Francisco Borges, who died in 1874 during the uprising against Sarmiento, Mitre, Avellaneda and whose final "romantic" Eduardo Gutierrez memorably described in his "Sketches and military silhouettes.
Moreover, essentially, in this story is the dichotomy of the soul Argentina can be translated as "worship cult book and courage" or "civilization and barbarism." Sarmiento is the best example of this, just read carefully the "Facundo". Turning now to
Sabato and his "On Heroes and Tombs", we say that there are many pages of the novel devoted to reflection on the Argentinean. In fact, the whole work is a glimpse of our national reality from the British invasion until the fall of Peron in 1955.
People who want to centralize exclusively to this issue, I recommend the book "The national culture at the crossroads" where our author met what I was dispersed in different works. I now cite two fragments of the novel that convincingly illustrate the problem of our identity: "Yes, the nostalgia of the old D'Arcangelo, Bruno commented to himself," ... But here everything was nostalgic, because few countries must be in the world is that this resentment was repeated so often: in the English first, because they longed for their homeland far away, then the Indians, because they longed for their lost freedom, your own sense of existence later in the gauchos displaced by civilization gringa, exiles of their own land, recalling the golden age of their savage independence, in the old patriarchs Creoles, like Don Pancho, because they felt that this beautiful time of generosity and courtesy had become the time for pettiness and lies and immigrants, in short, because they missed their old homeland, their ancient customs, legends, its Christmas by the fire. "(12)
But how does all this experience he comes to be the result of these entwined posthumously? Let the feelings of Martin, who in the novel becomes the prototype of the Argentine again: "But he Martin, when he had a mother? And this country seemed so bleak, so rough and unprotected. Because (as well as Bruno said, but now he could not remember but rather felt it physically, as if she were outdoors in the midst of a furious storm) was our misfortune that we had not finished raising a nation when the world had given rise to crack and then began to crumble, so here we did not have even this pretense of eternity in Europe are mileposts or Mexico or Cuzco. Because here (said) we are not Europe or America, but a fractured region, an unstable, tragic, turbulent and tearing fracture site. So here everything was more transient and fragile, there was nothing solid to cling to, the man looked more threatening and more ephemeral status ...". (13)
Martin
What is our situation and I think we must take fully with all its contradictions, without resorting to false criticisms. I think this is the first step to find our identity, as the sick man worth the example-can only be able to heal when you accept that it is trying to heal itself and works.
Finally, as is demonstrated in the work of Marechal, Borges and Sabato, I have postulated that the novel genre as seriously addressed, is an anthropology. Is not this absolutely original mine, is implicit in the thinking of Sabato and especially in this paragraph, "The writer and his ghosts" where expressly referring to the crisis and noted:
"What us Where do we go? What is our national truth: We are something new that really is brewing here, something truly original in this chaos of races and cultures ... literature , this hybrid expression of the human spirit that lies between art and pure thought, between fantasy and reality can leave a profound witness of this trance, and perhaps the only creation who can ...". (14)
And is that literature, and specifically the novel, the monster hybrid may reflect this hybrid monster that is man, this cross between an angel and the beast, that tear between spirit and matter.
Moreover, the novel itself absorbs all the other genres and draws, therefore, history, essays, science, language, arts, religion and history of religions, philosophy, etc.. And he gives as experiential and immediate.
also recreates (Marechal case in the "Adam" and Sabato "On Heroes") colloquial language of a place and time, plus the various sectors of a given society.
As anthropology draws on informants, who is the man in the street or town, the palace or the cottage, which is the concrete man, and plays in its pages with the real heartbeat of the blood.
I will refer, however, the authority of a great Russian thinker, someone who deeply weighed on European thought, although usually not named him, I mean Nicholas Berdyaev, who Sabato has this in his " Men and gears. " This philosopher, who also influenced Camus said, referring to the author of "The Underground Man:" Dostoevsky is, above all, a great anthropologist. "
And we all know that the author of "Crime and Punishment" is one of the greatest novelists of the nineteenth century and the basis of all contemporary novel. He continues
Berdyaev: "Dostoevsky is an investigator of human nature, he discovers a new science of man and applies a research method, hitherto unknown. The science of art, or, if preferred, the scientific art of Dostoevsky studies the infinite folds and its unlimited human nature "(15)
After this, is it unusual that puts forward the novel as an anthropology? On the contrary, and everything seen, we can say that is a valid tool in the investigation of this most complex and sensitive, and as troubled as problematic is the issue that must be a citizen.
And it is that we raise the issue as a whole and not partially as often the case with theories that speak, not of man but of an abstraction, that they just rejected Unamuno when he said he wanted the man and not an idea man.
So I think that my proposal is, at least, to be taken into account. (*)
Notes: *) See the articles of HRP on these issues in particular in Part II.
(1) E. Anderson Imbert, "Theory and technique of story," Marymar, 1979, Buenos Aires
(2) HR Paruzzo: "Marechal, the poet deposed" magazines "Compass" No. 6, Ros. November 1984 and "From A to Z" N º 18, dic. 2000, Ros. "The esoteric in the work of Marechal", journal Cristiano Rosicrucian No. 11, No. 11, Ros. 1986, which contains an article I wrote earlier "Marechal, Catholic or esoteric" appeared in "silver bells", No. 1, Ros. 1969.
(3) Adam Buenosayres, Edit. Sudamericana , BA 1979, 4 th edition (p. 215)
(4) See note 2.
(5) Megafón, Edit. Sudamericana, Issue 1. 1970 (p. 155)
(6) Idem (p. 16 )
(7) Adam (p. 154 and 665)
(8) On Heroes, Manufacturing, Third Edition, 1964 (p. 182-3)
(9) Idem (p. 155)
(10) Idem (p. . 112)
(11) Works, Emecé, 1974, 8 th ed. (P. 525)
(12) On Heroes "(p. 189)
(13) idem (p. 235)
(14) Aguilar, 3 rd ed. Buenos Aires 1967 (p. 38)
(15) The spirit of Dostoyevsky "Lohlé, 1 st ed. 1978 (p. 34)
Foreword by Héctor Roberto Paruzzo 
Héctor Roberto Paruzzo carrying in their hands the Order of the Anvil 
