All final occasions are sad. Especially when we know it’s the last. We try and make more time for ourselves, we order more coffee, and let the waiter update our final check until our goodbyes multiply themselves at the door and we reach the last one. I propose, then, to extenuate this last review and multiply the recommendations until the characters requested by this beautiful magazine mute my enthusiasm.
With “La cadena del desánimo”, Pablo Katchadjian ratifies one of Reinaldo Laddaga’s theoretical premises: all literatures aspire to the condition of contemporary art. Indeed, after fattening up Borges’ Aleph and alphabetically ordering the Martín Fierro, Katchadjian has composed his last ‘novel’ completely out of newspaper quotes from throughout 2012 until the day before the infamous 7D. Far from being a mere gesture, the succession of quotes provokes a kind of trance that hypnotises the reader in the exact opposite way mass media usually does: the montage strips away not only the mediation but the actual construction of the ‘real’.
Katchadjian’s work is a perfect example of past, a concept coined by Juan José Mendoza in his book “Escrituras past”: a mix of pastiche and paste (in the sense of copy & paste) that operates on the art of the past reconfiguring it, recontextualising it and, hence, reappropriating it.
“Mejor que ficción”, edited by Jordi Carrion, compiles the best chronicles of Latin American authors amongst which we can read: Pedro Lemebel viscerally narrating the murder of a trans woman; the portrait of a ‘digital dealer’ of pirated movies by Alberto Fuguet; and Juan Villoro commenting on the eccentricities of Japan, far away from his native Mexico.
Although I’m running out of characters, I don’t really need them since not a single word needs to be said about the quality of Alejandro Rubio’s poems, but perhaps just some about its quantity: all of his poems in one single tome, “La enfermedad mental”. Priceless!