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Beschreibungen – englischDel pozo a Santa María: Itinerario de Juan Carlos Onetti en la búsqueda del hombreTomas Vivancos This dissertation analyzes the most significant works of Juan Carlos Onetti that have Santa María as a reference point to delineate the journey of the subject in quest of himself. The selected works are: El pozo, Bienvenido Bob, La vida breve, Juntacadáveres, and El astillero. Juan Carlos Onetti
The Uruguayan author's complete works are being published. They are contrasted with the original manuscripts. This is very important because Onetti never corrected a single page of his novels. This publication filled a void because some of his works were not found in bookstores. Juan Carlos Onetti (1909 – 1994)Petri Liukkonen Juan Carlos Onetti (1909 – 1994) Uruguayan novelist and short-story writer, a master in fusing fantasy and realism. Onetti was awarded Uruguay's national literature prize in 1963 and Spain's prestigious Cervantes Prize in 1980. In La vida breve (1950) Onetti created the fictional city of Santa María, which also is the setting of his later works. The narrator of the novel, Brausen, invents a fantasy existence for himself as Díaz Grey, the protagonist of a screenplay he is writing. "Onetti's uneven, troubled career has resolved itself into a large body of critically admired prose that, finally, hews to a single driving artistic impulse: the necessary predominance of writing process. Onetti's anguished, detached narrators, creators of public words and private torments, brought Latin American fiction out of its provincial stasis at a time when talent, opportunity, and attention were poised to grant it greatness, and the Latin American novel from the 1940s onward stands as the heir to Onetti's artistic, self-examining vision." Juan Carlos Onetti (1909-1994): An Existential Allegory of Contemporary ManFernando Ainsa Now that Juan Carlos Onetti has left us--when we had already come to believe that he was immortal--we ask ourselves, from where within a country in which narrative is traditionally polarized between rural realism and modest urban incursions did this writer emerge? What was his literary heritage? And, most important, how could he establish, based on a "territory of the imaginary," Santa María, a fictional tradition in which a good many Uruguayan and many other Latin American writers can recognize themselves, an exclusive world that today is the inheritance of universal literature? Juan Carlos Onetti 1909-1994. Uruguayan-born Spanish novelist and short story writerINTRODUCTION Juan Carlos Onetti, or the Shadows on the WallLuis Harss, Barbara Dohmann Onetti, an ardent Arltian [i.e. strongly influenced by the writer Roberto Arlt], belongs to a "lost" generation that came of age around 1940, when the intellectual life of the country was being reassessed against a background of demagoguery and political disenchantment, of totalitarianism in Europe, and nationalism – with pro-Axis sympathies – in Argentina. Juan Carlos Onetti: No Man's Land and Let the Wind SpeakRonald de Feo Almost 40 years separates these two novels, and yet in their concerns, methods, and tone they often seem only a few years apart. Onetti established his world of hopeless dreamers and cynical losers early on in his career, when he was still in his early thirties. No Man's Land, which was first published in 1941, is set in Buenos Aires and focuses on a close-knit group of relatively young intellectuals; mostly artists and activists yet they seem to have prematurely taken on the disillusion and self-preoccupation of the middle-aged characters who will inhabit almost all of Onetti's future fiction. Although they appear to be more politically and socially active than their later burnt-out counterparts, they are equally caught up in futile pursuits and meaningless ritual. Love affairs animate their lives and often seem central to their existence;indeed, many scenes in No Man's Land take place in bedrooms but already these experiences are portrayed as sordid or doomed. Juan Carlos Onetti: Alienation and the Fragmented ImageM. Ian Adams Juan Carlos Onetti has been a prolific author and an important one. His first publication, El pozo, in December of 1939, marked a new stage in Uruguayan literature. Angel Rama describes the cultural background of Onetti and El pozo: "From 1938 to 1940 a fracture occurs in Uruguayan culture that opens, through the course of a new interpretation of ethical and artistic values, a creative period that, after intense struggle, will control the intellectual life of the country. Projection as a narrative technique in Juan Carlos Onetti's 'Goodbyes.'Mary-Lee Sullivan But that was when, without my understanding completely what was happening, I began knowing things and exactly what we had gotten ourselves into, though I could never say it, just as one knows what a persons soul is like but can't describe it in words. (Onetti, "A Dream Come True" 59) Few contemporary fiction writers have depended as heavily on the interpretive strategies of the reader as did Juan Carlos Onetti (1909-1994). Although his 1954 novella, Los adioses (Goodbyes), is one of his most demanding texts in this regard, it is also a hallmark of Onettian narrative in its controlled structuring of ambiguity. A close reading of the text reveals that it is, in fact, designed to draw maximally on the projective capacity of the reader. In the words of Fredric Jameson, "it is itself the inaugural narrative act that grounds the perception and interpretation of the events to be narrated" (xiii). The fact that the past 40 years of critical theorizing have failed to exhaust the responses elicited by Goodbyes would seem to confirm that the power of the text to draw on the unconscious projections of any given reader is inherent in its composition. Realizing the textual space: Metonymic metafiction in Juan Carlos OnettiBart L. Lewis Throughout a closely-observed and honored writing career that began in 1933 (Onetti Goodbyes xvii), Uruguay's Juan Carlos Onetti (1909-1994) has hewed with unitary consistency to the belief that putting a tale down on paper is a troubled matter, loosening lives that are only virtual, possible deceits, scant sufferings, posed, languid beings. It is this attention to the making of the text itself that must surely lead the critic to see in Onetti not only the modernist reformer of the Latin American novel, but more significantly, the metafictionist theoretician who "explore[s] a theory of fiction through the practice of fiction" (Waugh 2).[1] Analysis of four exemplary works by Onetti along the trajectory of his stories and novels permits a clear, focused understanding of his use of the metafictional technique, grounded in the power of metonymy to realize the space of the text and to engender the communication of any messages concerning the fiction/reality dichotomy that the author may seek. "Un sueno realizado" (1941), Los adioses (1954), Dejemos hablar al viento (1979) and Cuando entonces (1987) distinguish the Onetti canon by the varied revelations of their creator's metafictional commitment. Tales Told: Narrator, Character, and Theme in Juan Carlos Onetti's JuntacadáveresBart L. Lewis The genius of Latin America's revered contemporary novelist and influential stylistic innovator, Juan Carlos Onetti, lies in his telling stories whose only reality is artistic and transcendent. In his first short stories and the landmark El pozo, first-person narration predominates: the storyteller is at the center of his tale, with the freedom to elaborate and imagine, to defer and efface. |
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