La vida de las mujeres by Alice Munro

By Alice Munro

La vida de los angeles gente, en Jubilee como en todas partes, period aburrida, easy, asombrosa e insondable... cuevas profundas cubiertas de linóleo de cocina. Bastan estas pocas palabras para reconocer el talento de una espléndida narradora y colarse en l. a. vida de Del Jordan, una chiquilla que vive con sus padres en el pueblo de Jubilee. Del empieza contando su día a día, su relación con los angeles familia, los vecinos y los amigos, y pronto descubrimos que esa niña sabe observar el mundo y sacar buen provecho de lo que ve: compadece l. a. poquedad del padre, admira el arrojo de l. a. madre, que deja los angeles granja para dedicarse a vender enciclopedias por los alrededores, y comprende que tarde o temprano llega el momento en que hay que elegir entre una risueña mediocridad #hogar, iglesia, matrimonio, hijos- y otras opciones más interesantes y arriesgadas. Ese descubrimiento es también el de l. a. vocación literaria, una suerte de llamada, de deber para con el mundo. Esta deliciosa novela, que l. a. autora escribió cuando tenía cuarenta años, es -autobiográfica en los angeles forma, que no en los contenidos-, como comenta irónicamente los angeles misma Alice Munro. Traducida por primera vez al castellano, l. a. vida de las mujeres muestra ya toda l. a. maestría y el modo strange de ver l. a. realidad que ha distinguido l. a. obra posterior de esta gran figura de las letras contemporáneas.

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The talk show has the title Thriving with AIDS, and consists of a staged interview between the host and Bordowitz, who here takes on the persona of Alter Allesman (Yiddish for ‘Old Everyman’), a PWA. Given the title of the show, and the introduction of Allesman as a “long-term survivor of AIDS,” viewers are led to expect that Allesman will charm us with his story of “surviving and thriving’ with AIDS; we are ready for a positive and uplifting narrative, filled with hope and determination. Instead, Allesman morbidly declares, “I'm sick and I don't want a cure.

At least in my ungoverned imagination I can fuck somebody without a rubber, or I can, in the privacy of my own skull, douse Helms with a bucket of gasoline and set his putrid ass on fire … These fantasies give me distance from my outrage for a few seconds” (qtd in Meyer 2002, 245). , 246). For Bordowitz, within the context of FTLD, this fantasy, which he expresses with anger, also forms part of his resistance to the need to self-censor for the greater good of the AIDS activist movement. The creation of Allesman was extremely significant for Bordowitz, who explains, “Splitting myself into two characters enabled me to act out versions of myself that I was afraid to show.

Egan agrees that this is important, “Because these genres foreground the plurality and processes of identity and of autobiography, they are also transformative; neither the person nor the text can reveal any single or final truth, but both can provide activities of interpretation, in which the reader is compelled to join” (1999, 226). ). For Bordowitz, however, both time and space are valuable in their own ways, and inform each other. While FTLD, for example, relies on the to and fro between past and present to reveal Bordowitz's staging of the multiple aspects of identity, it also creates a kind of map, or series of spatial intersections between them.

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