Creative Writing and Social Change in Latin America. Autonomous Language ¿O reflection of reality? The Case of Venezuela

"Those who say that art should not propagate doctrines usually refer to doctrines contrary to yours? Jorge Luis Borges. Those who have followed the life and work of Borges find unusual degree of discursive content of the section. Perhaps this is the efficient cause to our discussion here has its beginning. It has considered the possibility that his political aberrations, such as one day the call Cortázar were not involved in the development of his aesthetic creed. But in reality, this has not been nor is the Latin American norm. In fact, we think it is quite possible that literature comes from the release of the demiurge that all those who felt a little writers, we carry inside. But it is certain that the writer has always tried to capture the reality that surrounds him, parodying Anibal Ponce, with their thoughts, their feelings, their passions. And this we have been able to grasp from the ancient verses of Netzahuatlcoyotl, like all the greats of his era, fraught with philosophical essence and funerary cult, even the songs lyrical poetry Quechua. Remember, in this, their yaravíes, their jaillús and wainús, replete with joy.

But remember also (Tedesco, 2005) that came with Wanco expression of sadness and frustration of the vanquished. This also finds expression in the stories depicted Amalivaca, white good, Aborigines of the lower Orinoco, Venezuela. Such a conception created a prophecy according to which, when Amalivaca return, would bring good to the people locals. The results are well known. A similar situation recalls the return of the god Quetzalcoatl and the arrival of Cortes to Mexico of Montezuma. Unfortunately, neither Columbus nor Cortez and his acolytes and one being represented once in Aboriginal communities. And was that Malinche, Marina, Malinche and the vital significance of its course helped confuse Amalivaca-Quetzalcoatl, combination that would create a new humanity and a new sun, and the sycophants of the sword and the cross. This ended the conquest and colonization spread, the latter, with different faces, still persists in many countries nostramericanos. From these first words, this communication seeks to provide a sui generis view on the general characteristics of the lyric-narrative literary discourse in Latin America, after the so-called regional or telluric literature.

In the same way, will run on the need to consider the role of intellectuals in the development of the social changes that run today as a new ghost, the confines of our America. Understood the concept, of course-with the connotation assigned to the political and literary ideas of José Martí. Returning to the subject, one could say that the history of American literary family has run in the struggle for social change. Thus the creative act in our republics, disregarding the conquest and colonization, is shown with telluric literature, which has always been narrative as his best form of expression. True to this premise, the novel of the land, customs, regional or telluric was based on the historical-geographical landscape of Latin America then. Therefore, the issue of opposition was the civilization-barbarism structural axis of the narrative statement. Clear examples are Facundo, Sarmiento, The Vortex, de Rivera and Doña Barbara, Gallegos. Here, civilization is represented by the ethnic element as above. According to widespread critical opinion, is the educated bourgeoisie which embarked on the path of civilization. In turn, according to the same conceptualization, barbarism is represented by the political and social strata of different locations.

Primarily by the peasantry. In the same vein, the so-called indigenous novel was developed from the perspective of white men. Alcides Arguedas, in Bolivia, Jose Maria Arguedas and Ciro Alegria, Jorge Icaza in Peru and in Ecuador, some more than others, while denouncing the cruelty waged against the natives, save the great conqueror, as an ideal of civilization. Of another civilization. But at the same time, has faced at various times and in different spatialities, an orientation that sought to impose as a manifestation of linguistic expression autonomous, independent of human struggles. Thus, modernism proposed, with the exception of Brazilian modernism, exotic images and the music as a theme. At the same time, evasion and methodology. Chilean creationism by proposing that the poet was a little god, placed humans above good and evil. Heirs of the Russian Formalists and the Prague Circle, first structuralism in linguistics and criticism, and after the concrete literature aspired to make language a tool of empowerment, regardless of the substance of the content of their achievements the first, and the economic environment, political and social which produces the second.

Along this road, pendulum readings have emerged between the form of expression and form of content. We think that these achievements that have taken place in times like those mentioned above will not ever appear in the context of our current reference. And this is because we think they represent the eternal speculation about the cleanliness of art referred to in our title. However, as a new phoenix, creative phenomenon of our republics, as such, has been in top form narrative of expression. And it almost always has been linked to the conceptual. As narrative cancellation of all land that arises in the sixties called "boom? Latin American. In this decade, and as a manifestation of what the sociology of literature called ideological vanguard, the Cuban revolution was consolidated as representing a different mode of production in our countries. This new reality utopia becomes possible in the political arena. And when it comes to literature, undoubtedly, is born a new discourse. We do not mean to be a direct consequence of historical fact, it would fall into determinism. But it is also true that the creation of Casa de las Americas in Havana, becomes important spur to the development of this new aesthetic code.

It begins to make a literature of the revolution, but also a revolution in literature. The horizontal jumps narrative history pieces, to make way for the overlapping of spatial and temporal planes: The green house dixit. Thus, as old structures are falling, they appear other news. Moreover, the need for linguistic experimentation produces the beautiful realization of a new literary baroque, but detached from reality. They are shining examples of this construction, Paradiso, Lezama Lima, 62. Model Kit from Cortazar, Hopscotch not to mention that for the time, it represents a kind of factotum of experimentation, a must for novice critics and writers pattern. In 62, the author tries to face outward behavior alienated a group of men looking for another access to the world. This search outside the plane of the characters is also an aesthetic search Proustian facing the European model. It is an enrichment of what a former Venezuelan, as Romulo Gallegos had already been raised in the relativity of truth-lying concepts. Such amplification of the levels of reality also makes that reality is enlarged and enriched the manifestation known as magical realism.

Gabriel García Márquez has the baton, because that magic is inherent in American culture, a happy syncretism between civilizations conquered and conqueror, among the various world views of the ethnic groups resident. In other words. Macondo, where anything can happen, is a paradigm benchmark our America. This phenomenon had been, theoretically, come by Alejo Carpentier. It could also speak of a psychological perspective, the direct heir Proustian model and expression of the problems of man (and woman, of course). The tunnel and On Heroes and Tombs, Sabato, The truce and spring with a broken corner, de Benedetti, are examples that first come to mind.

Moreover, the political response of the United States to the phenomenon, also political, created the so-called Cuban Security Doctrine (security for whom? We ask us). On behalf of the alleged 'safety?, Latin America met most shameful military dictatorships of the twentieth century. Similarly, more formal democracies committed to such guidance. We mentioned before the emergence of a new aesthetic code. Would fail to add that this code was fervently embraced by a large majority of the writers of the time. In our view, this is the reason that generates the conceptual trend within the narrative. The City and the Dogs, Vargas Llosa, Country portable, Adrian Gonzalez, The Death of Artemio Cruz by Carlos Fuentes, I the Supreme, Roa Bastos and many others, are examples of the trend in question. Inevitably, the various ebbs and flows, resulting from the completion of a thesis on life, and to the extent that the opposition is accentuated with the metropolis of the North, natural building were broken off. Approaches are known, and in different directions, from Vargas Llosa and Carlos Fuentes, to Adriano González, Mario Benedetti, Garcia Marquez, Oscar Collazos, to name some of the best known.

Would fail to add that today, the electoral victories-now-Lula in Brazil, Chavez in Venezuela, Evo Morales in Bolivia, for Vazquez in Uruguay, of Kitchener, in Argentina, Michelle Bachelet Chile, necessarily be themes for literary expression of social change. And, no doubt, with the company of those who want to escape reality through language as well as new expressions of self. The case of Venezuela. In the heat of the armed insurgency of the sixties, in Venezuela there is a guerrilla theme literature. In poetry excels the work of "Chinese? Valera Mora. I woke Seventy bullet and Stalinist poems represent a poetry becomes a weapon of combat, to accompany what was considered the ideological vanguard. Charles Petty and his Tribute to necrophilia wants to institute a sort of collage art. Becomes internationally known Ovalles Caupolicán a poem: "Sleep you, Mr. President? that even, it costs exile. In narrative, are known Argenis Rodriguez works and stories of Labana expreienciales Lamb. With a greater degree of aesthetic value and also showing a greater degree of pugnacity critical works were read and was called SN and take my spear plated silver, José Vicente Abreu.

Similarly, Lincoln Street Stories, Carlos Noguera and then inventing day by the same author. But with the military defeat of the Venezuelan guerrilla also produces a natural wear and aesthetic-ideological narrative poetic discourse ... "began to fall back issues that have not only diachronic persistence in our culture, but are integrated a topological space, such as cosmetic operation which, from the very beginning of the literary history .?... (Perez Huggins, 1991: 93). Thus, the literary discourse, as if trying to adjust to a new situatedness, is intimate, historicist, a bit esoteric, and so on. as trying to avoid the alienation imposed by the new social-political circumstances. In other words, you initiate a general crisis that has their manifestations in literary creation. For this reason, we return to issues that had been overtaken by the inevitable march of time. Reformulated old patterns and are certain trends, such as those listed below. a) Emergence of a cryptic poetry, intimate, excessively individualistic Tiede looking for the ancestors, houses with their contextual expressions. Land, Rafael Arráiz Luca, could be an example. b) Demonstration of a linguistic game that wants to be autonomous, at times, intemperate use of alliteration, onomatopoeia, morphophonological elisions, etc..

Some employers are in a text Texts Teresa, suit, Trejo, barn, truje, metastases, verb, Oswaldo Trejo, "Evicted, undefeated convicts?, Lourdes Sifontes. c) As usually, the story or fable gets hurt anyone, there is also a historicist narrative. Denzil Romero and his trilogies covering a wide span of time, in this mester. d) Appearance of a novel pessimistic about past mistakes, facing defeat. The most palpable as we read in The desolve, Victoria Duno (Today: Victoria De Stefano) e) Introduction of religious features, at times, esoteric, others seeking excitement, understanding, or mere knowledge of miracles, legends aspects of the wizarding world, or simply ad hoc creations. In Love and terror of the words, Briceño Guerrero, it is possible to discern some of these issues. Also in the poetry of Armando Rojas Guardia. Fortunately, as is said Heraclitus of Ephesus said: we do not bathe twice in the same river, Venezuelan literature has also had his dialectic and new generations, since the eighties, illuminate new paths. Luis Eduardo Barrera Linares Liendo and two random examples. Now, though we conceive of literature as an act of historical solidarity and love, we share the words of Cortázar, in controversy with Oscar Collazos, (1980: 76) ... "Nothing can look better than today write good novels immersed in the 'sociocultural and political context', and that these novels are widely read and help increase awareness of Latin American revolutionary, but to deny care to other novelists, in whose honesty and responsibility can not be no doubt, the right to [the] more rarefied search, to [the] most vertiginous experience .?...

In other words, certainly in Latin America, the coming social changes, according to our haunts, are many. Such changes should be marked by a new relationship between the collective subject called individual subjects and authors. This relationship will be far from what were some aberrations of socialist realism yesterday. As they say in Venezuela, he built must XXI century socialism, human, democratic. However, you can not conceive of a changing environment in a paradise. It will take some sacrifices. BI B L I O G R A F L A? Alvarez, Luis (2000a). "Women America. Love and concept in the poetry of Roberto Fernandez Retamar?. In: Sklodowska, Elzbieta and Ben A. Heller eds. Roberto Fernandez Retamar and Latin American studies. Pittsburg (USA). Publications of the Institute of Latin American Literature from the University of Pittsburgh. 219-236. ? Alvarez, Luis (2000b). "A reading of the literary text language?. In: Proceedings of the Second Meeting for a Transdisciplinary Literary Text Reading. Valencia (Venezuela): Publications Division. University of Carabobo. 167-174. ? Alvarez, Luis. (1999). The Venezuelan novel post-sixties. Caracas: Research Report consigned to the Institute of Linguistic and Literary Research Andrés Bello.

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