{"id":2005,"date":"2020-09-24T00:14:22","date_gmt":"2020-09-24T03:14:22","guid":{"rendered":"https:\/\/www.contramar.org\/?p=2005"},"modified":"2022-07-30T23:44:54","modified_gmt":"2022-07-31T02:44:54","slug":"elementor-2005","status":"publish","type":"post","link":"https:\/\/www.contramar.org\/index.php\/2020\/09\/24\/elementor-2005\/","title":{"rendered":"Notas sobre Fantasmas"},"content":{"rendered":"\t\t
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Por Javier Yanantuoni – 24 Sep, 2020<\/p>

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Fantasmas<\/em> es un momento de la obra de Anal\u00eda Giordanino en el que ella hace un pasaje. Si se quiere, de su escritura \u00edntima, privada, de un cuarto, a la escena p\u00fablica. Casi todos forman parte de una serie de relatos que fueron reconocidos en la categor\u00eda In\u00e9ditos<\/em> del premio Greca, en 2007. El jurado del certamen estaba integrado por las escritoras Graciela Pacher, Sonnia De Monte y Hebe Uhart.<\/p>

Hay entre el contenido de los relatos y ese momento biogr\u00e1fico cierta resonancia. Se pueden considerar relatos de iniciaci\u00f3n, pasajes completos o frustrados, ingresos a un nuevo c\u00f3digo, acercamientos a alguna cosa desconocida, un nuevo saber (\u201cIniciaci\u00f3n\u201d, \u201cLos ojos\u201d, \u201cOtro d\u00eda perfecto\u201d). Aparece tanto en los temas como en los recursos. Del uso del pasado perfecto compuesto y de formas sobre literaturizadas a las expresiones orales s\u00faper situadas y por eso ambiguas. Y luego en un \u00faltimo giro m\u00e1s limpio, m\u00e1s dominado en \u201cUn animal enloquecido al lado nuestro\u201d. Es un pasaje desde el tiempo indefinido de la vida \u00edntima al de las situaciones.<\/p>

No es que se trate de un v\u00ednculo necesario entre el contenido y el contexto. No existe ese enlace. La nuestra es una lectura de esa resonancia, esa m\u00fasica. Fantasmas<\/em> funciona como un primer disco, donde la herencia no acaba de morir y lo nuevo se insin\u00faa. La exploraci\u00f3n no est\u00e1 del todo controlada y se perciben la p\u00faa del bajo y el falsete. Los olores del cuarto cerrado empezaron a mutar y las oraciones tienen como la consigna t\u00e1cita de ara\u00f1ar el empapelado y tumbar las paredes. Los primeros discos est\u00e1n poblados de los golpes de los vecinos. Y \u00e9sta es parte de su acci\u00f3n pol\u00edtica, hacerse un lugar aun cuando parezca que ya estaban todos los lugares asignados o peor a\u00fan, cuando los lugares se hab\u00edan rematado tras una falsa convocatoria como la que le gusta hacer al neoliberalismo. Se nota tambi\u00e9n que el fondo de estas historias es la debacle del 2001.<\/p>

Los relatos de iniciaci\u00f3n se reconocen en dos o tres caracter\u00edsticas: el ingreso del ne\u00f3fito a un nuevo c\u00f3digo, a un nuevo saber, a una sociedad. Ese paso implica una transformaci\u00f3n, pruebas de valor, enfrentar peligros. Hay consejeros, cancerberos, madrinas, que son quienes saben. El lector atiende m\u00e1s a la secuencia del trance, al resultado general que a lo que tiene el ne\u00f3fito para presentar en el nuevo escenario porque en la mayor\u00eda de los casos el nuevo es un cachorro, un avatar que dar\u00e1 paso a un integrante m\u00e1s<\/em> de la comunidad. En este punto Fantasmas<\/em> muestra su resistencia, su transa. Visitar cementerios es un ritual, \u201cLo heredo de mis t\u00edas viejas\u201d dice la narradora indolente en \u201cGu\u00eda para cementerios\u201d. Acaba de morir su enamorado. El mundo moderno tiene s\u00f3lo un consejo para esta amante: olvidalo.\u00a0 Oculto en su abrigo, Fantasmas<\/em> hace pasar un componente desconocido. Que nunca se aclarar\u00e1 y ya no nos dejar\u00e1 dormir. Encanuta almas. Y no en el sentido religioso, doctrinario, sino como algo que escondido en la l\u00f3gica de los hechos m\u00e1s b\u00e1sicos (de lo contrario, por qu\u00e9 una simetr\u00eda genera desconfianza y cierto temor) se opone a una efectuaci\u00f3n total, a una muerte sin m\u00e1s. El no-saber que pulveriza los contornos de \u201cLa casa de los ojos despiertos\u201d y que nunca se apagar\u00e1. Incluso el cuello fl\u00e1cido pero patinoso y resistente de la tortuga que no cede f\u00e1cil ante el hacha de Ana.<\/p>

Se trata de iniciaciones que nunca llegan a consumarse, iniciaciones indefinidas<\/em>, la transa es permanente. En lugar de adoptar enfoques c\u00edclicos, abarcables, estos relatos no acaban de consumarse, como si una l\u00ednea que es tironeada desde otro lado les impidiera agotar la acci\u00f3n de la que hablan. Nunca se menciona esto en los textos, por lo tanto no existe, al menos no existe por fuera del jugueteo que anima las historias, pero tira: aprendizajes, una nueva mirada, alianzas, un amor.<\/p>

Nos gusta ver los relatos de Fantasmas<\/em>, en su re-edici\u00f3n, como narraciones de un proceso en curso, de un pasaje que no termina de realizarse y no porque les falte algo, sino porque el juego de c\u00e1maras del que Giordanino habla en \u201cUna muerte para pablo\u201d, donde \u201cmaduraran las sustancias del terror para darse cuenta de los roles\u201d, no deja de multiplicar las versiones. En efecto, a estos nuevos originales no los mueve un \u00e1nimo de repetici\u00f3n ni reescritura de todo lo anterior, sino los tambores que agitan un cuerpo en un camping, en una esquina, en una peluquer\u00eda del conurbano.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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M\u00fasicas para maridar letras<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Canci\u00f3n<\/strong>: Verne<\/p>

Artistas<\/strong>: Fer Callero, An\u00edbal Chico Ruiz y Anal\u00eda Giordanino, en el Festipoet de 2008. Centro Cultural Social Estaci\u00f3n Esperanza, Rafaela, Santa Fe.<\/p>

In memoriam de Fernando Callero<\/b><\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Por Javier Yanantuoni – 24 Sep, 2020 Fantasmas es un momento de la obra de Anal\u00eda Giordanino en el que ella hace un pasaje. Si se quiere, de su escritura \u00edntima, privada, de un cuarto, a la escena p\u00fablica. Casi todos forman parte de una serie de relatos que fueron reconocidos en la categor\u00eda In\u00e9ditos […]<\/p>\n","protected":false},"author":1,"featured_media":3049,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","_joinchat":[],"ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"on","ocean_gallery_id":[],"footnotes":""},"categories":[41],"tags":[54,55,56],"class_list":["post-2005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vapores","tag-blog","tag-fantasmas","tag-narrativa","entry","has-media","owp-thumbs-layout-horizontal","owp-btn-normal","owp-tabs-layout-horizontal","has-no-thumbnails"],"yoast_head":"\nNotas sobre Fantasmas |<\/title>\n<meta name=\"description\" content=\"Por Javier Yanantuoni - 24 Sep, 2020Fantasmas es un momento de la obra de Anal\u00eda Giordanino en el que ella hace un pasaje. 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