envy the dead wind, Second City Novel Award Mendoza Raúl Silanes won the Second Prize for Fiction 2010 Mendoza
Jurors were
Claudia Pineiro and Frederic Jeanmaire. "Envy the dead wind"
or news stories from the hinterland ...
By Maria Duenas Alfonso
Among the good news these days, I just got one that I share immediately. The writer Raul Silanes, won the Second Prize for the Novel City of Mendoza, and this award the work will be published shortly.
When I reread the manuscript of the novel wind envy the dead, that is when I revisit these people who imagined and still imagine Raul Silanes, in his lengthy narrative, I have the feeling of being in a "hinterland" (trasterrar is to transfer land to another, a relative word exile), a site representative of other historic sites, as critical points of a sphere whose reality is everywhere. A place like the territory visited by us in dreams, echoes of which we weigh the enormous power of images, due to the strength of what never got accurate and always sensed the power of the wear occurs inhumane to deny what is lost, the power of the desert interior, where we are shadows, condemned to punish the cruel torment, the ordeal fooled with hope.
As people of the novel, Resurrection is not only within a desert. It is located in a place without borders, where the dust and silence have shelter, standing guard in the dark, as if to rescue men and women, a substance misused for what could never accomplish. All this with a seemingly simple central story (the murder of a popular singer), but filled with the countless other stories, giving the text of a thicket and a level of synthesis, capable of plotting against the modulations of reality, where there is (or is) only time and space, plus an amazing speed narrative. In Resurrection parameters normally do not measure anything, even separate life from death. Resurrection is not simply imagined geography, but an amalgam of durations and lengths, twisting in on themselves, while human resists death, resurrecting the memory, to take charge of what happens.
Reading Envy the dead wind make us readers of the text-dwellers, inhabitants of resonances and rumbling founders of a relentless will, for the constant production of images and metaphors, whose repercussions continue to breathe beyond all hope, as a curious active reverse nothing. In other words, we flooded the defeated power, understood as all those who do not accept their defeat, fall into passivity or self-pity.
As far as formal in this novel as the narrator is limited Silanes, to establish a margin of three paragraphs, highly concentrated from the point of view of language, for each chapter of the book, but also provides for "parts" ten chapters, which contains hundreds of stories, myths to Once rethought in the same sentence, by work, as noted by the jury of the City of Mendoza, "notable for its originality and his extraordinary use of language."
Silanes In the work, there is no difference between living and dead, are expressions of the same. In any case, the dead enjoy or suffer from an inextinguishable life, being loved more alive than the living, made of an overlap between the subject, history and society, that is, between man and reality, through unreality of writing, where the narrator introduces its own myths, with particular conviction to find another possible reality, and write, through to the reality of others to everyday life with this other fiction, so many of the observed directions. For this writer, sensory perception does not preclude such a knowledge of another reality, but that helps them grow and enriched with new understanding, made nonsense of the underlying genealogy of its own significance.
is a critical view of Silanes, showing challenging forces, against oppression, but also and above all is a deeply humanistic vision that shows us the ways which define the destiny of the human person and the future Search the meaning of life. So after reading Envy the Wind ... I wondered how intermingle and come together in this work (and all the work of Raul Silanes), various historical and literary traditions. It does so through a desire which involved demystifying the gloom of the atmosphere and the truth of the characters. Hence the direct correlation Silanes, with authors such as Rulfo, Fawlkner and Kafka, to name but three, who like him are not interested in idealization, but to show man in his prostration intolerable under the infamous weight rules game imposed by others (which others say worse). And in that context, Silanes not preaching, not even judges. Shows processes of dispossession, where every action summarizes the history, society and the landscape. Maybe that's why, sometimes Silanes emphasis on those who seem predisposed to lynching, and evokes as if the time back instead of forward (that way no matter what night or what day it starts over, because they were no different the light of the dark, eyes accustomed to a reality manipulated, even by nature, with the pressure through the drought-ending (and intentionally).
is very interesting that the contest judges, considered this a work "very mendocina", without realizing it, because nothing that's "Mendocino" and at the same time, where everything is rough ambiguity, because precisely therein lies the universality of the act (it seems to belong to a place, but that place does not exist, is pure fiction.) Another of the jurors admitted "Now I know much more than Mendoza." This novel belongs to the imagination, or "reality fiction." Silanes used "known / universal" (Missing, dumps, dictatorship, unemployment, poverty, illiteracy, displacement, etc..), And installs in a different context, as if it were re-signs to know the fiction component signals the complex work of verisimilitude. So it becomes a true story and ends up agreeing with him to Silanes, his invented world is more real than the other. Has the luxury to display a handmade map of his people invented, with details not only streets but names of those living in the houses and the most important (station, aqueduct unfinished church, plaza, etc. ), giving the area created an enduring fascination in the reader, to develop a polyphony of interpretations.
So decoding is symbolic forms, like a hand disarmed before us a vast fabric, and each thread, each thread recovered for the original ball turns into a story, introducing a myth over another. Without forgetting that ideological forms, not only in terms of policy if also to religion, ie in terms of ideological beliefs, the need to believe, to produce belief in the desert, to realize a system of myths whose face is not final, binding to the universal myths, such as keys ontological and existential drama.
functionality myths Silanes used, especially in relation to the mysteries of fate, in a devastating cover all kinds of stories, including the opposition between fate and responsibility. For what look or suffering, the dead on Easter, but it ultimately? Living between fate and responsibility, giving rise to a symbolic experience (or his "museum symbols ", as they say Silanes), from historical and social experiences, individual and collective, which are transcendent both the absence of significant social parents (a leader who is only known for its headless statue that appears in the center square), and the presence of alternate oppressors (dictatorship). Silanes reconciles its way to the myth to society, in the context of a particular cultural reality, but the install on a totally fictitious field, giving it its own unity and historical identity. This does not escape the use of universal myth endogenous, produced by the conflict of the two halves of everything (we never join), from the pit caused his attempt to remove or deny what is different. Is the depth of that old wound bleeding, throbbing scar disguised against the slightest touch, which beats Resurrection at its best, and where they live as in a pilgrimage endless multitude of spectra, driven by the stubbornness of the facts, and where the living, to put it in a comprehensible manner, they have nowhere to fall dead. The people invented
Easter, is swallowed by its symbol, forming within itself its own reality. Maybe that's why, read Silanes is like hearing the sadness of the ashes. We are facing a writer who, devastated by his own imagination, is a ghost walking wasteland but mostly through endless nights, open to the souls in purgatory, which summarize the murmur of the desert sand depths, eager to once again become word and life. In this respect, envy the dead wind, full of poetry title ends up being a reflection on memory and loss, a story is nothing epic about the rootlessness and despair, on identity and death. With his prodigious writing, weaves a story full of metaphors that, despite all its symbolic relations, it is oppressively clear. But it's not just stories. It is an evocation of the experience of not knowing who we have become. Is a book of poignant warmth, seeking explanation for our resort destination, and shows how literature can be indispensable, when you search, assimilates and transforms the details of reality, to become thought of those who can not feel part of this world. It's kind of contraodisea, confronting myths, sticking out the essence of its ambiguities.
Raúl's work Silanes (1958), Envy the dead wind, won the Second Prize for the Novel City of Mendoza, for "his highly original and extraordinary use of language." Silanes has obtained, among other awards, the Biennale (Argentina 1980-1981), Calliope (Spain), Furman (USA), Plaza Calderon (Mexico), Samuelson (USA), Arnedo (Spain), Gabriele D'Annunzio (Italy), Dock (Argentina), Encina de la Cañada (Spain), Robert Lowell (USA), and Finalist in Felguera (Spain) Alfaguara-A (Argentina), Encarna León (Spain), Olga Orozco (Argentina), etc. Among his works are underground Suns (1982), First limit broken (1983), Return of Babel (1984), Shadow of the ice also melts (1989), Nests & Networking 1996), Besieged (1997), Light Guard ( 1998), Heaven (1999), The Illuminated (2001), Dumb (2004), Women (2005) and Cemetery (2008). Has been translated into a dozen languages \u200b\u200band was nominated Prince of Asturias Award in 2002.
Raúl's work Silanes (1958), Envy the dead wind, won the Second Prize for the Novel City of Mendoza, for "his highly original and extraordinary use of language." Silanes has obtained, among other awards, the Biennale (Argentina 1980-1981), Calliope (Spain), Furman (USA), Plaza Calderon (Mexico), Samuelson (USA), Arnedo (Spain) Gabriele D'Annunzio (Italy), Dock (Argentina), Encina de la Cañada (Spain), Robert Lowell (USA), and Finalist in Felguera (Spain), Alfaguara-A (Argentina), Encarna León (Spain) , Olga Orozco (Argentina), etc. Among his works are underground Suns (1982), First limit broken (1983), Return of Babel (1984), Shadow of the ice also melts (1989), Nests & Networking 1996), Besieged (1997), Light Guard ( 1998), Heaven (1999), The Illuminated (2001), Dumb (2004), Women (2005) and Cemetery (2008). Has been translated into a dozen languages \u200b\u200band was nominated for the Prince of Asturias Award in 2002.
If I could plagiarize a bit of you, 
