Documentos de Académico
Documentos de Profesional
Documentos de Cultura
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Periodicidad Anual
KATATAY, AÑO X, Nº 13, ABRIL DE 2016, 97 - 140 !
"#$%$&'()*+&
Mónica Marinone1
En el Quijote,-./.,01,23,450,6.70809,5-.,:0-;.,01,
5-,8.1;<223=,5-,70>.?3,01,5-,0@A78<;3=,5-31,3/701,/0,
vino son unas cabezas de gigante, unas mozas del
6.7;</3,3,7.B07.1,C450,83-,607/D-,.1E,10,22.B.-F,13-,
5-.1,67<-801.1=,G,5-.,-3:02.,/0,;07807.,60713-.,01,/0,
67<B07.H,IJ50,1<,45AK,'70<-;.,:0801,85.-/3,B0-31,0-,
el curso de su libro, en una forma u otra, Cervantes nos
:.,70L70-/.-/3,02,M-3,45<073N,/02,83B<0-O3,6.7.,450,-3,
-31,22.B0B31,.,0-P.?3,G,-3,23,:.G.B31,.,83-L5-/<7,
83-,231,-3:02<1;.1,/02,83BQ-,450,:<-<07.-,250P3=,.,A2,
450,01,Q-<83=,G,-31,:.G.B31,83-,2.,R-;.,C83B3,/<80-,0-,
SAT<83F,/0,450,23,450,A2,850-;.,L50,:07/./,G,38577<D,0-,
2.,70.2</./,G,0T<1;<D,/0,:07.1,02,U</.2P3,/0,2.,S.-8U.H,
V07-.-/3,W.220@3=,El gran diálogo del Quijote
X., 1</3, 01;5/<./39, 2., 0-5-8<.8<D-, 632E;<8., 01, <-106.7.>20, /0, 2., 83-1;7588<D-, /0, 5-,
./:071.7<3, G, /02, 0-L70-;.B<0-;3, /<18571<:3=, 151;0-;Y-/310, 0-, 5-., 631<8<D-, ./:071.;<:.=,
0-,R-=,01,<-106.7.>20,/02,agonH,$2,L7.PB0-;3,450,<-825G3,83B3,06EP7.L0,83770163-/0,.2,
volumen Peroratas CZ[\]9,^^F G,1<,-3,10,<-187<>0,0-,02,8.B63,/02,/<185713,632E;<83=,B501;7.,
0-,15,>70:0/./,5-.,B3/.2</./,450,<B670P-.,83-,P7./31,/0,B.G37,G,B0-37,A-L.1<1,231,
juegos agónicos,/0,V07-.-/3,W.220@3H,_.,L7.10,MIJ50,1<,45AKN,<-825G0,>7518.B0-;0,.,5-,
/01;<-.;.7<3`3G0-;0, Ctú, 450, 02, yo reclama en una situación comunicativa) cortando por
10P5-/.,:0O,5-.,70a0T<D-,C02,67<B07,837;0,01,2.,.82.7.8<D-,0-;70,6.7A-;01<1F,450,10,.-5/.,
.2,M-3,45<073NH,$1;.,L7.10,01,/01;.8./.,637,W.220@3,83B3,513,450,)07:.-;01,70L70-/.,CM02,
P0-<3,/0,)07:.-;01N,10PQ-,<-/<8.,0-,LogoiFH,(5-450,02,;E;523,B<1B3,/0,/<8U3,:325B0-=,
Peroratas=,6706.7.,.2,208;37,6.7.,2.,B3201;<.=,5-.,<-83B3/</./,450,15020,.83B0;07,.-;0,
151,;0T;319,2007,.,W.220@3,01=,.,:0801=,5-,70;3,.2,450,10,-31,0-L70-;.,/01/0,5-31,;E;5231,
450,.>70-,02,.783,.,23,450,:0-/7Y,G,01,<-U070-;0=,83B3,0L08;3,670;0-/</3=,.,151,P01;31,
<-;7.-45<2<O./3701H, b-, 70;3, <-;0701.-;0=, 1<-, /5/.1=, 85.-/3, 10, 01;5/<.-, 673:38./37.1,
0187<;57.1, /0, 01;0, 83-;<-0-;0, .L.-./.1, 0-, >Q1450/.1, genealogistas, 0-, 02, 10-;</3, 450,
S<8U02, V358.52;, .;7<>5G0, ., 01;., 6.2.>7., 85.-/3, 200, ., &<0;O18U0=2, 01, /08<7=, >Q1450/.1,
450, .10/<.-, :.23701=, 5-., B37.2=, 02, 83-38<B<0-;3=, /01/0, 2., <-1<1;0-8<., 0-, 3>107:.7,
MB0;<85231</./01,G,.O.701,/0,231,83B<0-O31N=,0-,6701;.7,M.;0-8<D-,0187565231.N,.2,70P<1;73,
/0, .450223, 83-80></3, 83B3, 231, M>.@31, L3-/31N, /0, /<8U31, L5-/.B0-;31, C13-, L7.101, /0,
V358.52;FH,%0,;7.;.,/0,0187<;57.1,450,.5-,0B62.O./.1,0-,5-,67010-;0,7083-38<>20=,0-:E.-,
.,8<07;.1,31857</./01,/0,2.,B3/07-</./,3,0180-.7<3,;7.1,02,450,70:07>07.-,83-:<88<3-01=,
<-;0773P.-;01,0,<-807;</5B>701H,"37,0@0B623=,706.7.7,0-,02,.78U<:3,<251;7./3,1<,10,01;5/<.,
1
c38;37.,0-,_0;7.1,637,2.,bd(=,S.P<1;07,Artis G,"73L0137.,0-,_0;7.1,637,2.,VXeb-<:071</./,&.8<3-.2,/0,S.7,/02,"2.;.,/3-/0,
10,/010B60?.,83B3,673L0137.,C)$_$X*%),G,/<7<P0,02,c38;37./3,0-,_0;7.1H,$1,673L0137.,<-:<;./.,637,5-<:071</./01,-.8<3-.201,
G,0T;7.-@07.1=,G,B<0B>73,/0,83-10@31,0/<;37<.201,/0,151,70:<1;.1H,X.,65>2<8./3,231,0-1.G31,Escribir novelas. Fundar naciones
C\ F, G, Rómulo Gallegos. Imaginario de Nación CZ[[fF=, 1<0-/3, 5-., /0, 231, 01608<.2<1;.1, 83-:38./31, 6.7., .8;5.2<O.7, 02,
Diccionario General de Literatura VenezolanaH,"5>2<8.,0-1.G31,0-,:32QB0-01,83208;<:31=,70:<1;.1,-.8<3-.201,0,<-;07-.8<3-.201g,
U.,8337/<-./3,.-;323PE.1,G=,0-,832.>37.8<D-=,;701,:32QB0-01,<-;07-.8<3-.201,450,83-1;<;5G0-,5-.,107<0,13>70,_.;<-3.BA7<8.H
2
,)<;3,/0,B3/3,83B620;39,MU.807,2.,P0-0.23PE.,/0,231,:.23701=,/0,2.,B37.2=,/02,.180;<1B3=,/02,83-38<B<0-;3,hij,107Y,<-1<1;<7,0-,
2.1,B0;<85231</./01,G,.O.701,/0,231,83B<0-O31g,6701;.7,5-.,.;0-8<D-,0187565231.,.,15,<77<137<.,B0O45<-/./g,6706.7.710,.,:07231,
157P<7=,.2,R-,1<-,BY18.7.1=,83-,2.,8.7.,/0,23,3;73g,-3,;0-07,65/37,0-,<7,.,>518.7231,.22E,/3-/0,01;Y-,`k70P<1;7.-/3,231,>.@31,L3-e
/31l`g,/.7201,;<0B63,6.7.,.180-/07,/02,2.>07<-;3,0-,02,450,@.BY1,:07/./,.2P5-.,231,U.,;0-</3,>.@3,851;3/<.N,CV358.52;,\ !9,Z]FH
^ KATATAY Rotaciones
.2,83-;73:071<.2,W.220@3,3,.,3;731,0187<;3701,2.;<-3.B07<8.-31,;.B><A-,excesivos, eruditos
G logorreicos,C6<0-13,0-,02,:0-0O32.-3,c0-O<2,#3B073F,6.7080,5-.,;0-;.;<:.,15607./37.,
/0,8.;0P37<O.8<3-01,450,6071<1;0-,1D23,0-,2.,/0187<68<D-,/0,151,70;D7<8.1,G,/0183-1</07.-,
resonancias con ciertas epistemes, <-;0-1.1, 83B3, A1;.H, S0, 70R073, ., 151, 20P./31, G,
6.7./3@.1=, 151, L507O.1, <-16<7./37.1, G, 151, 83-;7./<88<3-01=, 8<07;.1, >.-/07.1, 83B3, 2.,
utilidad 3,02,M:.237N,/02,6.1./3,C/0,2.,X<1;37<.F=,2.,673B01.,/0,L02<8</./,L5;57.,3,02,.LY-,/0,
perfectibilidad, pero también un espíritu crítico, entendida dicha palabra como separación
B0/<.-;0,2.,70a0T<D-,G,2.,.5;3770a0T<D-,1<0B670,L5-/./.1H,
"37,3;7.,6.7;0=,2.,70L070-8<.,.2,Quijote /02,06EP7.L0,83-;7<>5G0=,83B3,82.:0=,.,2.,83B670-1<D-,
de dichos juegos=,450,1<,.6.7080,0T6501;.,83B3,B58U.1,3;7.1,CM-./.,01,23,450,6.7080NF=,
<-1;.57., -3, 1D23, 0-, 5-., L.B<2<., ;5;02.7=, 1<-3, 0-, 5-, ;0770-3, .B><P53=, 450, 637, 0223, 132<8<;.,
ir más allá, salirse de 2.,83-:0-8<D-,CG,70837/0B31,450,exceso por acepción es rebasar,
entre otros, modumFH,"708<1.B0-;0,2.,-38<D-,/0,2EB<;0=,.138<./.,.,2.,7.OD-,B3/07-.=,01.,
83-/<8<D-,-0801.7<.,10PQ-,$H,m.-;,6.7.,./45<7<7,807;0O.,/0,23,70.2=,10,:0,<B62<8./.,0-,02,
exceso=,;0-/0-8<.n,B.78.,.15B</.,637,W.220@3,450,2.,132.,B0-8<D-,/0,.2P5-31,/0,151,;E;5231,
pone en escena: La puta de Babilonia CZ[[!F, 01, 5-, 0@0B623, 0R8.OH, W.20, .82.7.7, 450, 10,
;7.;.,/0,5-.,0T6701<D-,83-,450,231,.2><P0-101,/0-3B<-.>.-,.,2.,*P201<.,/0,#3B.,10PQ-,
02, M(638.2<61<1N=, L7.10, 450, 1<, 7015B0, 2., 70673>.8<D-, /0, 23, 08201<Y1;<83, C151, @07.745E.1=, 2.,
63101<D-,/0,><0-01,637,6.7;0,/02,82073=,0;8HF=,.,15,:0O,R@.,02,25P.7,/01/0,/3-/0,10,U.,/0,
0-5-8<.7=,25P.7,/0,23,83-;0-8<313=,/02,6573,.-;.P3-<1B3,G,2.,<770:070-8<.=,.5-450,;.B><A-,/0,
2.,60710858<D-9,231,.2><P0-101,L5073-,3>@0;3,/0,5-.,875O./.,37/0-./.,637,02,".6.,*-380-8<3,
***,0-,\Z[ H,o,W32;.<70,70150-.i,"<0-13=,01,82.73=,0-,15,Tratado sobre la tolerancia escrito
.,7.EO,/02,.101<-.;3,/0,p0.-,).2.1=,0-,\!f]=,M83-,2.,016./.,/0,5-.,@51;<8<.N,<B6521./.,637,
02,L.-.;<1B3,702<P<313H,_.,B3/.2</./,<770:070-;0,/0,W.220@3,01,5-,6573,70P3/03,0-,02,exceso
desde lo más visible, la expresión desinhibida como euforia de lo inconveniente.
$1,U37.,/0,/08<7,450,01;.,Presentación=,<-<8<./.,.,6.7;<7,/0,231,0-1.G31,3,/0,01;5/<31,
/0, 2.7P3, .2<0-;3, /0, W.220@3=, 3>0/080, .2, B0-31, ., /31, 7.O3-019, 637, 5-, 2./3, <-;0-;., 5-,
/0162.O.B<0-;3,/0,231,;0T;31e3>@0;3,C><3P7.LE.1,G,-3:02.1F,;7.>.@./31,637,231,.5;3701,450,
participan de este Dossier G, por el otro, una lectura somera de lo menos indagado en
P0-07.2, C/<8U31, 0-1.G31, G, 01;5/<31F=, 1<-, 0B>.7P3, 15B.B0-;0, 673/58;<:3, 6.7., 0T6237.7,
2.1,-38<3-01,/02,;E;523,Cexceso,G,agonF,450=,<B6521./.1,637,5-.,:38.8<D-,proteica, desde
mi punto de vista, orientan esta escritura. Logoi C\ ^]F= La tautología darwinista,C\ ^F=,02,
Manualito de Imposturología Física CZ[[qF=,La puta de Babilonia,CZ[[!F,G,Peroratas CZ[\]F=,
., :0801, B5G, 83-;73:071<.201, 83B3, 2.1, -3:02.1, 83-1.P7.;37<.1=, /<R070-, 0-, 15, L.8;57.,
:32:<0-/3,:<1<>20=,0-,83-@5-;3=,01.,:38.8<D-,C01.,631<><2</./F,450,0-8./0-3,.,2.,</0.,/0,
!!"#$3,G,.,5-,7083-38<B<0-;3,/02,6013 /02,20-P5.@0,83B3,82.:01,6.7.,2007,0,<-;07670;.7,
.,W.220@3H,W38.8<D-,450,<B62<8.,2.,escritura,83B3,YB><;3,/0,87580,`/0,/<1857131=,;0T;31,G,
:3801`,/3-/0,02,yo,01,O3-.,/0,10P57</./,G,lugar común=,1<,60-1.B31,0-,02,0-1.G3,83B3,
L37B.=,637,0@0B623=,450,/0103,/01;.8.7,;.-;3,637,15,70R-./3,7<P37,<-:01;<P.;<:3=,83B3,637,
la pulsión interpretativa a él ligada, el eros pedagógico,G,02,;7.>.@3,/0;0-</3=,01B07./3,
0-,8<07;.1,O3-.1,/3-/0,02,20-P5.@0,.28.-O.,5-,0160137,/<18571<:3,450,708507/.,El río del
tiempo,4 los cuales suelen naturalizarse en el acto de lectura o perderse de vista tras un
;3-3,832345<.2,3>101<:3,G,0-,38.1<3-01,130OH,
Logoi se alza por índole, disposición e intereses, como principio activo en este dominio
83B620@3,450,B0,<-;0701.H,La tautología… G,02,Manualito… se aproximan por cuestiones
G, /<10?3g, La puta de Babilonia, 10, .20@., /02, 701;3, 6.7., .8078.710, ., 2., -.77.;<:., 2<;07.7<.H,
Logoi,G,La puta de Babilonia,107E.-,231,0T;70B31,.-;.PD-<831,CL37B.2B0-;0,U.>2.-/3F,/0,
5-,.783=,.5-450,U07B.-./31,0-,15,.LY-,B3-5B0-;.2<1;.H,'3/31=,<-825</.,2.,83B6<2.8<D-,
/0, M.7;E85231=, /<1857131=, 83-L070-8<.1=, 63-0-8<.1=, 67D23P31, G, 67010-;.8<3-01, /0, 2<>731, G,
602E852.1N, /0, Peroratas, C:325B0-, 85G., 85.2</./, 01, 23, /<:0713, 637, 107, 5-., 83B6<2.8<D-F,
6.7080-, 0-1.G.7 C0-, 02, 10-;</3, L7.-8A1, /0, tratar G, 0-, U3-37, ., S3-;.<P-0=, 3;73, 6./70,
/0,W.220@3F=,/0,B3/3,BY1,3,B0-31,/<708;3= 2.,M83-@57.N,/0,5-.,45<B07.9,02,37<P0-,83B3,
01;.><2</./,/010./.n83-1;75</.H,o=,mutatis mutandis, aúnan el registro esclarecedor con
3
De $%&'( $)"'( !*+,(CL37B.7FH
4
Este volumen lo componen: Los días azules, El fuego secreto, Los caminos a Roma, Años de indulgencia y Entre fantasmas.
FERNANDO VALLEJO… EXCESO Y AGON
5
,(15B3,2.,631<8<D-,/0,".70@.,X070/<.,13>70,02,Manualito G,2.,<B631;57.,.62<8./.,.2,B<1B3,W.220@3,,0-,P0-07.2=,45<0-,2.,.806;.7E.,
0-,15,06EP7.L0,CM$2,-3B>70,P0-A7<83,/02,107,U5B.-3,/0>07E.,107,U3B3,1.6<0-1,0;,B0-/.T,CU3B>70,<-;02<P0-;0,G,B0-;<7313NF.
c<80,"H,X070/<.9,M0-L70-;.B31,5-.,-50:.,:071<D-,/0,2.,Paradoja de Epiménides el Cretense. $-,022.,10,67363-0,82.1<R8.7,83B3,
:07/./07., 3, 83B3, L.21.=, 2., 1<P5<0-;0, .R7B.8<D-9, kTodos los cretenses son mentirososlH, %<, .806;.B31, 450, 01;0, 0-5-8<./3, /0,
$6<BA-</01, 01, :07/./073=, 637, 107, A2, 870;0-10, CB0-;<7313F=, 02, 0-5-8<./3, 01, L.213H,'.B><A-, 1<, 02, 0-5-8<./3, 01, L.213, 0-;3-801,
algunos cretenses no son mentirosos: si Epiménides está entre éstos, el enunciado es verdadero. En todos los casos se llega a
5-.,83-;7./<88<D-H,(2P3,-3,650/0,107,:07/./073,G,L.213,.,2.,:0OH,(62<8./3,01;0,7.O3-.B<0-;3,.,2.,8<;.,/0,V07-.-/3,W.220@3,/0,450,
M;3/31,231,U3B>701,13-,B0-;<73131N=,63/0B31,83-825<7,450,2.1,.6708<.8<3-01,0-,15,3>7.=,/0@.-,2.,10-1.8<D-,6.7./3@.2=,/0,23,450,
-3,10,650/0,8.2<R8.7,-<,83B3,:07/./073=,-<,83B3,L.213NH
6
Amplío: el aquino=,M83770163-/0,.,2.,8.-;</./,/0,<B631;57.,83-;0-</.,0-,231,]],:32QB0-01,/0,2.,Suma Teológica de Tomás de
(45<-3NH,%5,.62<8.8<D-,10,0T;<0-/0,.,2.1,8<0-8<.1=,2.1,702<P<3-01=,2.,R2313LE.,G=,0-,P0-07.2=,.,85.245<07,8.B63,/02,83-38<B<0-;3,
humano.
!
,M_.,:<320-8<.,<-;07:<0-0=,<-82513,0-,231,8.131,BY1,L.:37.>201=,0-,;3/.,702.8<D-,/0,/0708U3=,G.,10.,83B3,:<320-8<.,L5-/./37.=,
G.,10.,83B3,:<320-8<.,83-107:./37.,/02,/0708U3N,C\ \9,qqFH,M&3,0T<1;0,<P5.2/./H,$-,02,B0@37,/0,231,8.131,U.G,:<320-8<.1,<P5.2e
B0-;0,P7.-/01N,C\ \9,q[FH
100 KATATAY Rotaciones
^
,M-3,;3/31,13-,8<5/./.-31=,1<-3,450,01;0,;E;523,607;0-080,1D23,.2,U3B>70,632E;<83=,450,01,3,650/0,107,/50?3,/0,3856.710=,607e
13-.2=,3,83208;<:.B0-;0=,/0,231,<-;070101,83B5-01N,C(7<1;D;0201,Política: Libro III, Cap. III).
102 KATATAY Rotaciones
Bibliografía
(<7.=,)A1.7,CZ[[\FH,M$2,0-1.G3,G,15,;0B.N=,Boletín, 9, e\uH
d.;.<220=,x037P0,C\ ZFH,El erotismo=,$16.?.9,'51450;1H
d2.-8U3;=,S.57<80,C\ [FH,La escritura del desastre=,).7.8.19,S3-;0,y:<2.H,
d0-@.B<-=,t.2;07,C\ \FH,M%3>70,02,20-P5.@0,0-,P0-07.2,G,13>70,02,20-P5.@0,/0,231,U5B.-31N=,Para
una crítica de la violencia y otros ensayos. Iluminaciones IV, Madrid: Taurus.
Foucault Michel C\ ^fF-(./(/0$%+120(1/("$ $"*&, Córdoba: Ediciones de Diana.
zzzzzzz,C\ !FH Nietzsche, la Genealogía, la HistoriaH,$16.?.9,"70e;0T;31H
".70@.,X070/<.=,c<0P3H,Mc0185>7<0-/3,2.,V<2313LE.N=,c<163-<>20,0-9,{|||HS.;0B.;<8.1GR2313R.<-L3n
.7;E85231n87D-<8.H}
%.07=,p5.-,pH,C\ FH,La narración-objeto, d50-31,(<7019,%0<Ted.77.2H
%.723=,d0.;7<O,CZ[[\FH,Mc02,3;73,2./3,/02,U37<O3-;0N=,Boletín, 9,\fe]\H
W.220@3=,V07-.-/3,C\ ^]FH,Logoi, México: FCE.
zzzzzzz,CZ[[ZFH,La tautología darwinista y otros ensayos de biología, Madrid: Taurus.
zzzzzzz,CZ[[uFH,Manualito de imposturología física, México: Taurus.
zzzzzzz,CZ[[!FH,La puta de Babilonia,,"07Q9,"2.-0;.H
zzzzzzz,CZ[\[FH,El don de la vida, b75P5.G9,(2L.P5.7.H
zzzzzzz,CZ[\]FH,Peroratas=,d50-31,(<7019,(2L.P5.7.H
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sobre algunos de sus compatriotas, entre ellos, U.1,|7<;;0-,3-,13B0,3L,U<1,835-;7GB0-=,<-825/<-P,
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carácter ético dentro de la propuesta narrativa ethical character within the narrative proposal of
del colombiano. this Colombian writer.
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2
El río del tiempo 70Q-0,2.1,1<P5<0-;01,R88<3-01,.5;3><3P7YR8.19,Los días azules C\ ^uF=,El fuego secreto C\ ^fF=,Los caminos a
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104 KATATAY Rotaciones
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Estamos ante una biografía literaria anómala, en buena medida parodia de la biografía
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de ridiculizar para de paso desautorizar las relaciones establecidas entre las concepciones
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desmiente la fractura tanto como expresa los motivos profundos de la elección de narrar
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textos. La escritura de la biografía termina siendo una empresa inútil: ha ido detrás de
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el documento por antonomasia, la fotografía, una fotografía en la cual se esfuma el rostro
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recuperación en la autobiografía de lo perdido, a través del empecinado regreso a las
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ENTRE LA BIOGRAFÍA Y LA AUTOBIOGRAFÍA: FERNANDO VALLEJO Y JOSÉ ASUNCIÓN SILVA 105
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)3B3,1.>0B31=,2.1,20G0-/.1,-3,U.-,801./3,/0,0-B.78.7,2.,:</.,/0,%<2:.=,/01/0,15,
/0:38<D-,637,02,25@3,0-,;.-;3,07.,3>@0;3,/0,-5B073131,60/</31,/0,45<0>7.=,6.1.-/3,637,2.,
131608U.,/0,5-.,702.8<D-,<-801;531.,83-,15,U07B.-.,$2:<7.,G,02,-.5L7.P<3,/0,l’ Amérique,
02,>.783,0-,450,70P701.>.,/0,).7.8.1,.,d3P3;Y=,.,B0-31,/0,5-,.?3,/0,15,B507;0,G,0-,
02, 450, 6<07/0, 8.1<, ;3/., 15, 3>7.=, U.1;., /010B>38.7, 0-, 02, 60/</3, .2, .B<P3, BA/<83, 6.7.,
450,20,B.7450,83-,;<-;.,0-,15,850763,02,25P.7,0T.8;3,/02,837.OD-=,/E.1,.-;01,/0,60P.710,
el tiro. Como sabemos también, de esta última anécdota se vale el médico responsable
/0, 450, 02, 8373-02,(5702<.-3, d50-/E., 077.7., 02, /<16.73, 85.-/3, 670;0-/<D=, 1<-, /08<723=, 01,
claro, aprovechar la lección del poeta en Cien años de soledadH, W.220@3, 10, /0;<0-0, 0-,
01;31,G,3;731,;0B.1,U.><;5.201,0-,2.1,><3P7.LE.1,/0,%<2:.=,6073,.2;07.-/3,2.,<B637;.-8<.,
/0,5-31,G,3;731=,.80-;5.-/3,15,<-187<68<D-,0-,23,0T;07<37,G,23,8<785-1;.-8<.2=,15@0;31,.,5-.,
36.8</./,450,-3,650/0=,-<,45<070=,025/<7H,%<-,0B>.7P3=,.5-450,2.1,8.7<8.;57<80,G,10,>5720=,
-3,70-5-8<.,.,.B32/.7,2.1,BY18.7.1,870./.1,637,02,B<1B3,%<2:.,.,15,/0103,/0,80?<723,.,
una biografía.
V50,d.2/3B073,%.-E-,).-3,0-,B<,36<-<D-,02,BY1,8078.-3,.B<P3,/0,%<2:.,.5-450,
6.708E.,02,BY1,20@.-3H,%0,;7.;.>.-,/0,51;0/,G,1323,U.>2.>.-,/0,2<;07.;57.H,&<,%<2:.,20,
83-;.>.,/0,151,M<-L37;5-<31N,83B078<.201=,-<,%.-E-,).-3,/02,;7.-:E.,/0,B52.1,450,
./B<-<1;7.>.H,X.>2.>.-,/0,2<>731,G,2<>731,G,.5;3701,G,.5;3701,G,0-;70,;.-;3,.5;37,
/0, V2.5>07;=, ., 45<0-, ./B<7.>.-=, 1<-, /.710, 850-;., /0, 450, 10, U.>E.-, 83-:07;</3,
0-, 5-, 6.7, /0, 60713-.@01, 15G31=, 0-, d35:.7/, G, "A858U0;9, ;3/3=, ;3/3, 85.-;3, 10,
65/<07.,1.>07,13>70,01;.,;<077.,02231,23,4507E.-,1.>07H,c0,2.,<-;3T<8.8<D-,2<>7018.,
450,220P.73-,.,;0-07,c<31,B0,2<>70,G,P5.7/0=,;383,B./07.H,$7.,02,/0,02231,5-,>.7.@.7,
/0,-3B>701,G,-3B>701,/0,.5;3701H,o,0-,6750>.,Mc0,%3>70B01.N=,450,01,/0,%<2:.=,
3, 2.1, M)7D-<8.1, >3P3;.-.1N, 450, .6.708<073-, 0-, El Telegrama, R7B./.1, 83-, 02,
6105/D-<B3, /0, S.7G, d022=, G, 450, $-7<450, %.-;31, S32.-3, /<80, 450, 13-, /0, %<2:.,
637,231,.5;3701,450,.22E,10,B0-8<3-.-=,G,G3,/0,%.-E-,).-3,637,2.,B<1B.,7.OD-H,
_0E.-,2.1,B<1B.1,831.1=,8<;.>.-,231,B<1B31,.5;3701,G,0-,d3P3;Y,;3/3,02,B5-/3,
10,10-;E.,>572./3,870G0-/3,450,201,01;.>.-,;3B.-/3,02,6023,83-,10B0@.-;0,1.7;.,
/0,.5;3701,75131,G,L7.-80101,450,.,23,B0@37,-<,0T<1;E.-=,;.201,83B3,5-,;.2,'321;3<,
G, 5-, d.5/02.<70H, o, 0-, 013, 637, 23, B0-31, 1E, ;0-E.-, 7.OD-=, 07.-, <-:0-;31, /0, 010,
6.7,/0,B0-;08.;31,637,U.80710,231,8U<1;3131,85.-/3,-<,1.>E.-,2.;E-=,0-,a.P7.-;0,
83-;7.631<8<D-,83-,S<P502,(-;3-<3,).73,450,-3,1D23,;7./58E.,:07131,2.;<-31,1<-3,
450,A2,B<1B3,231,83B63-E.,G,0-,150?31,10,U.>2.>.,/0,;Q,83-,W<7P<2<3,C\ u9,\ [FH
106 KATATAY Rotaciones
_., 2.7P., 8<;., >518., 1323, 0@0B62<R8.7, 8DB3, <-P701., W.220@3, ;0B.1, 83-1.></31, /0, 2.,
><3P7.LE.,/0,%<2:.=,0-,01;0,8.13=,6.73/<.-/3,2.1,:E.1,83-:0-8<3-.201,/0,2.1,><3P7.LE.1,/0,
artista, tanto la novela de formación como la de sus saberes, valiéndose de la mentada
.B<1;./,2<;07.7<.,83-,d.2/3B073,%.-E-,).-3=,6.7.,/07<:.7,0-10P5</.,0-,.2P5-.1,/0,151,
M8.>0O.1,/0,;5783N=,.45E,0-,S<P502,(-;3-<3,).73=,/0,45<0-,-3,10,8.-1.,/0,70837/.7,450,
es el autor de un Tratado del participio=,450,:<0-0,.,850-;3,6501,0-,".7E1,02,@3:0-,%<2:.,
20, 220:D, 6.7., 450, 0:.25.7., 02, B.-5187<;3, /0, M$2, 2<>73, /0, :07131NH, o, .1<B<1B3, <-;73/58<7,
2., >572., .2, M:<.@0, 01;A;<83N, /02, 0187<;37, B3/07-<1;., ., ".7E1=, /02, @3:0-, p31A,(15-8<D-=, /0,
.60-.1,\ ,.?319,M)5.-/3HHH,10,L50,.,".7E1,-3,07.,;3/.:E.,5-,60;<B0;70=,5-,85775;.83=,07.,
5-,B58U.8U<;3,1<-,>.7>.9,450/.,5-.,L3;3H,HHH,$1,B<,36<-<D-,450,85.-/3,HHH,10,L50,.,".7E1,
07.,5-,@3:0-8<;3,;3207.>20H,W32:<D,<-13637;.>20=,8.7P./3,/0,2<>731,G,/0,.L08;.8<D-=,U08U3,5-,
.670-/<O,/0,60;<B0;70N,C\ u9,\f]FH
Retoma estos tópicos, insistiendo al mismo tiempo en el rechazo de la novela De
sobremesa9, M.>75B./., 637, 80-;0-.701, /0, -3B>701, /0, 0187<;3701=, 6<-;3701=, R2D13L31=,
><D23P31=, BQ1<831=, 57>.-<1;.1=, 607L5B<1;.1=, 01;./<1;.1=, ;<7.-31=, UA7301=, 67D80701, G, 5-.,
.:.2.-8U., /0, 60713-.@01, B<;32DP<831=, 2<;07.7<31=, U<1;D7<831=, >E>2<831=, 83B3, 1<, L507., 5-.,
0-8<82360/<.,G,-3,5-.,-3:02.N,C\ u9,f!FH
_.,7085770-8<.,/0,2.,0-5B07.8<D-,/01.7B.,231,10-;</31,450,>518.,;3/.,><3P7.LE.=,.2,/<25<7,
2.1,6071608;<:.1,G,2.,83-8.;0-.8<D-,/0,23,-.77./3H,%07Y-,0-,>50-.,B0/</.,2.,0-5B07.8<D-,
/0,231,3>@0;31,`231,;7.@01=,231,2<>731=,231,bibelot=,0;8H`,450,%<2:.,/010D=,6310GD=,G,.5-,231,
450,:0-/E.,0-,15,;<0-/.=,231,450,833607.-,1D2</.B0-;0,0-,83B63-07,151,<BYP0-01H,)3-,
estos últimos cierra la biografía:
$-, R-=, 6501;3, 450, B0, 01, <B631<>20, 60-0;7.7, 02, L3-/3, /0, ;5, .2B.=, M637, 13>70, 2.,
B507;0=,02,;<0B63,G,2.,/<1;.-8<.N,83B3,;Q,/<7E.1=,:3G,.,U.80720,5-.,.657./.,:<1<;.,.,
;5,.2B.8A-,HHH,8.B><.-/3,/0,238.2,.2,:.<:A-,/0,;51,/05/.1,G,/3-/0=,10PQ-,/<80-=,
.;0-/E.1, 83-, ;51, M.858<3131, G, .;0-;31, /060-/<0-;01N, G, ;5, M0T45<1<;., P.2.-;07E.N,
`., U.807, 02, <-:0-;.7<3, /0, 23, 450, :0-/E.1, HHHW0-/E.19, 837;01, 6.7., ;7.@01=, PA-0731,
6.7.,B50>201=,;02.1,6.7.,1.G.1=,107:<8<3,6.7.,2<83701=,>.101,6.7.,01;.;5.1=,8.@.1,
6.7.,@3G.1=,:01;</<;31,6.7.,-<?3=,HHH,85./731,.2,D203=,8325B-.1,/0,B./07.=,B01.1,
/0,.@0/70O=,HHH8.>.220;01=,01;58U01=,60258U01=,L7.O./.1=,,;077.83;.1=,;7.-16.70-;01=,
2<83707.1=,@.7/<-07.1=,0145<-07.1=,;.7@0;07.1=,><220;07.1,C\ u9,Zf\eZFH
".7.,673B3:07,2.,:0-;.,/0,02231,0-,02,(2B.8A-,d3U0B<.=,6736<0/./,/0,2.,L.B<2<.=,U.1;.,
le había dedicado poemas de El Telegrama:
d3U0B<.,01,1<-,/<165;.,5-,.2B.8A-,B.P-ER83n,1<;5./3,.2,67<-8<6<.710,2.,8.220,/0,
V237<Y-H, I$162A-/</31, 607L5B01, /0, 2.1, B0@3701, LY>7<8.19n, _5>E-=, "<:07=, 0;8A;07.=,
.8.>.-,/0,220P.7N,C\q^FH4
45<0-,BY1,63/E.,0-,d3P3;Y,0187<><7,01;31,:07131K,%323,%<2:.H,%323,%<2:.,0-,)323B><.,
63/E.,U.807,6301E.,83-,02,;0B.,BY1,U5B<2/0,G,BY1,<B6736<3=,83B3,2.,6736.P.-/.,
.,5-,.2B.8A-,CZ\ZFH
"073,.6.7;0,/0,01;0,/0;.220=,0-,02,;7.;.B<0-;3,/0,2.,0T8068<3-.2</./,/02,630;.=,67<:<20P<.,
W.220@3,15,.7;0,/0,83-;7.07,/05/.1H,"3/7E.B31,/08<7,450,13-,/31,231,0@01,450,3856.-,2.,
><3P7.LE.=, 151, /05/.1, G, 151, /05/3701=, G, 02, 8373, /0, ;01;<B3-<.-;01, 13>70, 02, 15<8</<3=, 0-,
8<07;3, 10-;</3, 151, /05/31=, 1<-, 450, 02, B3/3, 0-, 450, 10, ;7.B.-, 0-, 02, 702.;3, .5;37<80, 5-.,
702.8<D-,8.51.2,0-;70,5-31,G,3;73H,
4
,,$1;0,;0T;3,L50,65>2<8./3,637,%<2:.,0-,El Telegrama, según informa en su libro El corazón del poeta $-7<450,%.-;31,S32.-3=,
U07B.-./3,83-,W.220@3,637,15,:38.8<D-,><3P7YR8.H,$-,2.,6YP<-.,\ ,10,.13B>7.9,MJ5<-80,.?31,/0,15,:</.,/0/<8./31,.,7083-1;75<7,
231,;70<-;.,450,:<:<D,%<2:.H,IJ5<-80K,I_.,B<;./,/0,23,450,:<:<D,02,3;73K,(,013,G3,23,22.B3,/0:38<D-NH,o,8.1<,.2,R-.2<O.7,Chapolas negras
<-1<1;0,0-,10?.2.72.9,MJ5<-80,.?31,20,;3BD,.,$-7<450,%.-;31,S32.-3,/0;07B<-.7=,83-,;3/.,8.2B.=,02,.657./3,6.13,/0,%<2:.,637,
2.,0T<1;0-8<.H,J5<-80,.?31,0-,2.,d<>2<3;08.,&.8<3-.2=,0-,2.,/02,d.-83,/0,2.,#06Q>2<8.=,0-,2.,/0,2.,b-<:071</./,/0,(-;<345<.=,0-,02,
(78U<:3,&.8<3-.2=,0-,02,/0,2.,).;0/7.2=,0-,02,S5103,/0,)5-/<-.B.78.,70:<1.-/3,U3@.,637,U3@.=,L32<3,637,L32<3=,2<>731=,0T60/<0-;01,
G,607<D/<831=,6.60201,G,6.60201,G,6.60201,;7.P.-/3,632:3,U.1;.,220P.7,.,1.>07,/0,%<2:.,23,450,-./<0N,C\ u9,Zq[FH
ENTRE LA BIOGRAFÍA Y LA AUTOBIOGRAFÍA: FERNANDO VALLEJO Y JOSÉ ASUNCIÓN SILVA \[!
%.-;3,0-;70,231,1.-;31,1.-;<R8./31,637,%<2:.,L50,/3-,x5<2207B3,b7<>0,02,8.25B-<./3=,
02,67<-8<6.2,/0,151,R./3701H,$-;70,38;5>70,/0,\^ \,G,-3:<0B>70,/0,\^ ]=,02,607E3/3,
450,.>.78.,02,c<.7<3,/0,83-;.><2</./HHH,/3-,x5<2207B3,07.,R./37,/0,%<2:.,.-;0,231,
1<P5<0-;01,.8700/37019,p31A,p3.45E-,#0G01,).B.8U3=,"0/73,(H,#3@.1=,$1;0>.-,
J5<@.-3=,(-;3-<3,(-;32<-01=,(-;3-<3, x35>07;=, W<80-;0, c57Y-, G, _5<1, "7.;;H,(, p31A,
(15-8<D-,23,U070/D,/3-,x5<2207B3,/0,/3-,#<8.7/3=,02,6.6Y=,83-,45<0-,U.>E.,;0-</3,
G, 83-, p31A, S.7E., %.B607=, /0, -3:<0B>70, /0, \^![, ., .P31;3, /0, \^!q=, 2., R7B.,
%.B607=,b7<>0,,%<2:.H,c0,0-;3-801,/.;.>.,2.,<-:0;07./.,831;5B>70,/0,450,0-,2.,
-50:.,).1.,/0,231,%<2:.HHH,1<P5<07.-,6./70,0,U<@3,51.-/3=,637,R/02</./=,2.,R7B.,/0,
/3-,x5<2207B3,0-,7016.2/3,/0,2.1,15G.1,C\ u9, ]FH5
_31,0773701=,2.1,B0-;<7.1,G,231,/02<7<31,0-,231,;0T;31,65>2<8./31,G,0-,231,B.-5187<;31,/0,
%<2:.=,8<;./31,G,83B0-;./31,637,W.220@3=,83B3,2.,L.B31.,8.7;.,/0,\[],62<0P31,0-,2.,450,
706738U.,.,b7<>0,151,.B0-.O.1,/0,0@085;.723,637,/05/.1=,-3,20,<B6</0-,10P5<7,0-,/0;.220,
2.,U<1;37<.,450,02,c<.7<3,/0162<0P.=,6.7.,/01620P.7,5-,70607;37<3,/0,>70:01,><3P7.LE.1,/0,231,
<B62<8./31,C231,1.-;31,3,2.1,:E8;<B.1F=,5-.,1507;0,/0,B.6.,138<.2,450,83B620;.,83-,45<0-01,
L37B.73-,6.7;0,/02,837;0@3,LQ-0>70,;.-;3,83B3,231,450,01;5:<073-,83-,%<2:.,0-,2.,80-.,/0,
2.,-38U0,.-;07<37,.2,15<8</<3=,83B3,1<,02,><DP7.L3,@5P.7.,.,83-;.P<.710,/02,.B37,.2,8U<1B0,
/0,01.,d3P3;Y,.2/0.-.,/0,R-01,/02,1<P23,*=,0-,2.,85.2,U.>E.,:<:</3,151,018.131,;70<-;.,
años el dandy,;0-/073H,$-;70,2.,<B631;57.,83-,450,&37.,).;022<,:502:0,.,70a0T<3-.7,231,
L5-/.B0-;31,/02,016.8<3,.5;3><3P7YR83=,.,2.,450,10,.L077.,V07-.-/3,W.220@3=,G,02,U07B0;<1B3,
de la composición del dandy, ;0-/073, %<2:.=, 10, 0T6.-/0, 02, U3B0-.@0=, 6.73/<.-/3, 2.1,
>57/.1,83-RP57.8<3-01,/0,231,8U<1B01=,:502;31,B58U.1,:0801,;01;<B3-<31,G,2.1,<BYP0-01,
6736<8<./.1,637,%<2:.,B<1B3=,450,-3,.;7.:<01.-,02,5B>7.2,/02,10870;3,/0,2.,870.8<D-=,/02,
M107,/02,630;.N=,85G3,0-8.-;.B<0-;3,673:<0-0,/0,2.,20@.-.,208;57.,/0,2.,<-L.-8<.=,:0UE8523,
/0, </0-;<R8.8<3-01, <25137<.1, /02, ><DP7.L3, G, /0, 2.1, LY>52.1, /02, .5;3><DP7.L3=, ., 1.><0-/.1,
450,.B>.1,10,0-;70875O.-9,MxA-073,01657<3,02,/0,2.,><3P7.LE.=,450,10,:502:0,.5;3><3P7.LE.,
85.-/3,5-3,20,.>70,2.1,83B<22.1,.2,1.-;3,6.7.,450,10,0T67010,G,/<P.,23,450,201,/<@3,.,3;731=,
0-,5-.,8.7;.=,B<-;<0-/3,45<OYN,C\ u9,\!^FH,W.220@3=,83B3,0131,<-108;31,.6.70-;0B0-;0,
<-3L0-1<:31=,01.1,<-:0-8<>201,MHHH8U.632<;.1,-0P7.1,450HHH,10,631.-,0-,2.1,:<P.1,/0,231,.2;31,
;08U31,.-5-8<.-/3,.,2.,S507;0,G,450,2.,P0-;0,83770,.,1.8.7,/02,85.7;3,83-,0183>.1,2.7P.1=,
3,B0@37,/<8U3=,5-<0-/3,0183>.1=,450,-<,.28.-O.-=,73B6<0-/3,2.1,;02.7.?.1N,C\ u9,\ F=,
somete la escritura de la vida al imperio de la muerte. La vuelve presencia constante como
claro signo de un destino, dadora de sentido. Chapolas negras 83B<0-O.,637,02,R-.2=,637,
02,0-;<0773,G,02,15<8</<3H,o.,0-,02,6Y77.L3,<-<8<.2,73B60,83-,85.245<07,<-;0-;3,/0,15187<><7,.,
2.,20G0-/.,85.-/3,2.,><3P7.LE.,10,:502:0,U.P<3P7.LE.=,.2,/01B<;<R8.7,02,/3237,83-,2.,<-1D2<;.,
L7.10,/0,2.,B./709,MW0.-,51;0/01,2.,1<;5.8<D-,0-,450,-31,U.,/0@./3,01;0,O3450;0N,C\ u9,
10). Dedica casi la mitad del texto a esos dos episodios, a sus causas, siempre sobre
67015-8<3-01,3,;01;<B3-<31,450,02,><DP7.L3,10,/<:<07;0,0-,:32:07,/5/3131=,83773>37.-/3,15,
<-.-</./,.2,0T6701.7,1<B620B0-;0,2.,/<16.7</./,/0,2.1,6736<.1H,c<80,637,0@0B6239
5
,$1608<R8.,0-,6YP<-.,\f!9,M"501,01,6736<0/./,/02,731.7<3,02,450,1<0B670,10,70O.,<P5.2=,607BE;.-B0,70O.7201,/0,-50:3=,6.7.,
73B607, 2., B3-3;3-E., /02, :<.@0=, 231, 67<-8<6.201, .8700/3701, /0, %<2:., G, 6507;31, /02, 7E3=, 450, :.-, .1E9, #3/32L3, %.B607=, c07B05<2,
V7701=,m011207,%;0<-U.2=,d.-83,*-;07-.8<3-.2=,c0B0;7<3,".70/01=,$/5.7/3,W<22.=,).7231,(>3-/.-3=,(-;3-<3,%.B607=,'0DR23,%3;3=,
(7;573,/0,).B><2=,p5.-,&063B580-3,(5O.=,W<80-;0,c57Y-,HHHN,G,83-;<-Q.,2.,0-5B07.8<D-,83-,]],-3B>701,BY1H
\[^ KATATAY Rotaciones
%<2:., 01;.>., 450>7./3=, 10, 20, U.>E., B507;3, 15, U07B.-., $2:<7., ., 45<0-, ./37.>.=,
U.>E., L7.8.1./3, 0-, ).7.8.1, 83B3, /<623BY;<83, 637, 45070720, 45<;.7, 02, 6501;3, .2,
0B>.@./37=,151,0187<;31,10,20,U.>E.-,607/</3,0-,5-,-.5L7.P<3=,15,B./70,07.,5-.,
0-8<B31.=,G,6.7.,832B3,/0,B.201,U.>E.,0-;70:<1;3,450,2.,:</.=,01;3=,-3,:.,6.7.,
-<-P5-.,6.7;0H,~)DB3,-3,4507E.-,450,10,B.;.7.,C\ u9,\qFH
Luego, en cambio:
*B631<>20,60-0;7.7,02,M83B620@3,016E7<;5,/0,%<2:.N=,83-8251<D-,450,U.,01;./3,0-,2.,83-;<-5.,
B3L.,/0,231,3;731,1.><31=,450,U.-,83-1;75</3,2.,20G0-/.=,450,W.220@3,.806;.,R-.2B0-;0=,
0-;7.?.>20B0-;0,5-</.,.,2.,-31;.2P<.,/0,2.,<-L.-8<.,607/</.=,;.B><A-,6.7.,83-@57.7,0131,
B507;31, 450, 1<-<01;7.B0-;0, -31, B<7.-, /01/0, 01., L3;3P7.LE.=, 2., BY1, 83-38</., /0, %<2:.=,
doblemente fantasmal, reproducida obsesivamente en la tapa de Chapolas negras:
S58U31, .?31, U.-, 6.1./3, /01/0, 450, 20E, ., %<2:., /0, -<?3, 0-, 5-, 85./07-<;3, /0,
:07131,450,836<D,B<,6./70H,c01/0,0-;3-801,:0-P3,8.7P.-/3,83-,15,B507;0,83B3,
5-.,8526.,6736<.H,c0,5-,;<0B63,6.7.,.8Y=,G,0-,>50-.,6.7;0,637,B<,>50-.,1507;0=,
U0, 220P./3, ., 1.>07, /0, A2, 23, 450, -<, 13?.>., G, 23, 450, -./<0H, o, 1<-, 0B>.7P3, B<1,
/0185>7<B<0-;31,-3,B0,U.-,U08U3,8.B><.7,5-,Y6<80,2.,<B.P0-,/0,/02<8./0O.,G,/0,
;07-57.,450,0-;3-801,B0,L37BA,/0,A2H,(8.13,637450,01,2.,450,15P<070-,151,BY1,
>02231,:07131=,3,.8.13,637450,01,2.,450,U.,L37@./3=,13>70,15,;7.P0/<.=,2.,20G0-/.H,
)3B3,23,450,G3,U0,/0185><07;3,-3,8.>0,0-,01.,67<B07.,<B.P0-,BE.,G,G3,13G,B5G,
L02<O, 83-, B<1, B.-E.1=, 450, 13-, B58U.1=, G, 83-, B<1, 018.131, .B3701=, 13>7., 01;0,
B.B3;70;3,C\ u9,Zu FH
Bibliografía
#$%bS$& (d%'#()'
$1;0, 01;5/<3, 01, 5-, /0162.O.B<0-;3, /0, </., G, 'U<1,.7;<820,<1,.,735-/,;7<6,;U.;,1;70-P;U0-1,C.5;3F
:502;.=, 5-, <7, G, :0-<7, 450, 63;0-8<., 5-, entree ><3P7.6U<8.2,<-;07a08;<3-1,.-/,<-a08;<3-1,|U310,
a0T<3-01, 0, <-a0T<3-01, ><3, CG, .5;3><3F, P7YR8.1=, L3851, CChapolas negras=, ;U0, ><3P7.6UG, >G,
85G3, L383=, 1<, ><0-, 01, Chapolas negras, la V07-.-/3,W.220@3,.>35;,U<1,L0223|,835-;7GB.-,pH,
><3P7.LE.,/0,V07-.-/3,W.220@3,13>70,15,M6.<1.-3N, (H,%<2:.F,.>137>1,De sobremesa as well, which
pH,(H,%<2:.=,.>137>0,;.B><A-,De sobremesa, del <1,.213,.>35;,%<2:.H,dG,0T6237<-P,;U010,L385101=,
B<1B3, %<2:.H, v.-0;;<, 0T6237., ., ;7.:A1, /0, 01;31, v.-0;;<, .-.2GO01, U3|, ;U0, ><3P7.6UG, |7<;07,
focos, cómo el biógrafo sostiene la precaria supports the precarious alliance between illusion
.2<.-O., /0, <251<D-, G, 870/52</./, 450, 23, .83B0;0, .-/,870/52<;G,;U.;,10<O01,U<B=,.-/,;U0,3:0767<-;1,
G, 2.1, 13>70<B6701<3-01, 0-;70, 231, 15@0;31, 3-,;U0,15>@08;1,<-:32:0/,<-,;U0,;.1w=,.B3-P,3;U07,
involucrados en la tarea, entre otros. things.
_r%,V(&'(%S(%,c$_,W*(p$#r
"r#V*#*r,d(#d(,p()rd,o,V$#&(&cr,W(__$pr
).7B0-,"07<22<1
t.2;07,d0-@.B<-,.;7<>5G0,.2,-3B./<1B3,2.,631<><2</./,/0,83-38<B<0-;3,G,.6736<.8<D-,
/0,5-,25P.7g,BY1,450,.,2.,607B.-0-8<.=,.,2.,631<><2</./,/0,0-;7.7,G,1.2<7H,".7080,/08<7-31,
450, 2., :07/./07., 63101<D-, /0, 5-., 8<5/./, <B62<8., U.>072., .>.-/3-./3H, El mensajero
/0, V07-.-/3, W.220@3, 01, 2., ><3P7.LE., /02, 8323B><.-3, "37R7<3, d.7>., p.83>=, 5-, .5;37, /0,
profusa mitología. Todo mito supone una sustracción de la historia, una transformación
0-,-.;57.20O.,/0,2.,6.2.>7.,73>./.,G,/0:502;.,.,3;73,25P.7,Cd.7;U01,\ ^ZFH,_.1,67<B07.1,
LY>52.1,.8078.,/0,d.7>.,p.83>,L5073-,85</./31.B0-;0,.7B./.1,637,02,6736<3,.5;37=,45<0-,
U<O3,/0,15,:</.,5-,857<313,G,/0;.22./3,702.;3=,5-.,83B620@.,.5;3e7067010-;.8<D-,.,;7.:A1,
/0,2.,6.2.>7.,G,02,850763=,/3-/0,10,0-;70875O.-,2.1,-3;.1,/0,2.,>3U0B<.,G,/02,/.-/<1B3,
de los comienzos del siglo XX.
_.,20G0-/.,G,2.,:</.,/02,630;.,8323B><.-3,01;Y-,1<P-./.1,637,02,01;<PB.,/02,0187<;37,
B.2/<;3H,b-,.5;37,-DB./0=,0-,83-;<-53,L507.,/0,25P.7=,5-,<-/<:</5.2<1;.,.,52;7.-O.=,0-,02,450,
0-L07B0/./,G,U3B310T5.2</./,15B.-,/73P./<88<D-,G,:<320-8<.H,$-,02,702.;3,.5;3><3P7YR83,
85</./31.B0-;0,.2<B0-;./3,637,02,/02<7<3,/02,.5;37=,2.,8501;<D-,/02,-3B./<1B3,`:325-;.7<3,
5,3>2<P./3`,70152;.,5-,83B63-0-;0,80-;7.2H,d.7>.,p.83>,:<:0,0-;70,016.8<31,G=,.5-450,
83-107:., 5-., <-;0-1., -31;.2P<., 637, 15, 25P.7, /0, 37<P0-, `(-;<345<.=, 2., B<1B., ;<077., /0,
W.220@3`,,15,.60P3,637,02,;0775?3,/0,15,<-L.-8<.,-3,<B6</0,450,10,<-1;.20,83-,E-L52.1,/0,
ciudadano en lugares como México, Cuba o Guatemala.
X.G,5-.,P7.-,0B6.;E.,0-;70,02,><DP7.L3,G,02,630;.=,5-,BYT<B3,/0,.8078.B<0-;3,450,
10,U.80,0:</0-;0,0-,2.,B<7./.,.5;37<.2,./B<7.;<:.,450,.837;.,2.,/<1;.-8<.,0-;70,.B>31H,b-,
0@0B623,01,02,/385B0-;.2,02.>37./3,637,_5<1,r16<-.,13>70,2.,:</.,/0,W.220@3=,La desazón
suprema. Un retrato incesante de Fernando Vallejo,CZ[[\FH,$2,0187<;37,02<P0,;<;52.723,83-,5-,
:0713,/0,d.7>.,p.83>H,d<DP7.L3,G,60713-.@0,83B6.7;0-,3R8<3,0,</0-;</./,10T5.2=,.1E,83B3,
2.,67380/0-8<.,.-;<3450?.,G,02,.60P3,.,2.,<-L.-8<.H,(B>31,13-,673:38./3701,852;57.201=,
0-,5-,P01;3,/0,83-;<-5.,70>02/E.,450,83238.,15,/08<7,0-,83-a<8;3,83-,;3/.,83-:0-8<D-H,
W.220@3,<-1<1;0,0-,/0L0-01;7.7,.,)323B><.9,M)526.,15G.=,/0,15,<7,G,:0-<7,/0137/0-./3,637,2.,
P03P7.LE.,/0,(BA7<8.,0-,>518.,/0,5-.,6.;7<.,B0@378<;.,6.7.,700B62.O.7,2.,B.2.,450,c<31,
-31,/<3N,CZ[[]9,\\[FH,_31,/31,:<:0-,0-;70,25P.701=,0-,02,10-;</3,BY1,.B62<3=,/0183238./3,
L70-;0,.,2.,-37B.2</./H,d.7>.,p.83>,-3,1D23,01,5-,6070P7<-3,0-;70,6.E101,1<-3,5-,;7.-10Q-;0,
1
*-:01;<P./37.,"7<-8<6.2,)r&*)$',G,"73L0137.,'<;52.7,/0,_<;07.;57.,_.;<-3.B07<8.-.,0-,2.,b-<:071</./,&.8<3-.2,/0,'585BY-,
C(7P0-;<-.FH,c<708;37.,/0,Telar. Revista del Instituto Interdisciplinario de Estudios Latinoamericanos.
110 KATATAY Rotaciones
0-;70,8.1.1,G,238.8<3-01=,5-,U08U3,85</./31.B0-;0,70P<1;7./3,0-,02,;0T;3H,"073=,13>70,
todo transita entre identidades, usando distintas máscaras.
(-/.7,01,-3,;0-07,5-,25P.7H,%0,;7.;.,/02,6738013,<-/0R-</3,/0,01;.7,.510-;0,G,0-,
631, /0, .2P3, 6736<3H, $2, :.P.>5-/03, 450, B52;<62<8., G, 70Q-0, 2., 8<5/./, U.80, /0, 022.,
una inmensa experiencia social de la privación de lugar; una experiencia, es cierto,
652:07<O./.,0-,/01:<.8<3-01,<--5B07.>201,0,E-RB.1,C/0162.O.B<0-;31,G,.-/.701F=,
83B60-1./., 637, 2.1, 702.8<3-01, G, 231, 875O.B<0-;31, /0, 01;31, AT3/31, 450, L37B.-,
0-;702.O.B<0-;31=,.2,870.7,5-,;0@</3,57>.-3=,G,83238./.,>.@3,02,1<P-3,/0,23,450,/0>07E.,
107=,0-,R-=,02,25P.7=,6073,450,.60-.1,01,5-,-3B>70=,2.,)<5/./,C)07;0.5,Z[[q9,\\fFH
_., , RP57., /02, 630;., /<-.B<;., 85.245<07, R@0O., </0-;<;.7<.=, G., 450, -31, 3L7080, 5-., 107<0,
de identidades fracturándose en forma continua en desterritorializaciones voluntarias
3, <-:325-;.7<.1H, d.7>., p.83>, 0T607<B0-;., ;3/., 1507;0, /0, 0T<2<31, 450, 10, /<80-, 0-, 2.,
;7.1U5B.-8<.,G,02,;7.-1L37B<1B3,0,<-187<>0,15,/01.@51;0,0-,2.,.15-8<D-,/0,5-.,6310H,%5,
850763, 10, ;7.-1L37BD, 0-, 5-, <-1;75B0-;3, /0, 607L37B.-801, G, .8;5.8<3-01H, $2, 673;.P3-<1;.,
;0@0,5-.,70/,/0,6.131,0-,151,01;./E.1,0-,1<--QB073,/0,1<;<31,/<1;<-;31=,8.7.8;07<O./31,637,
15, 83-/<8<D-, /0, B.7P<-.2</./, `85.7;31=, 60-1<3-01=, 6731;E>5231=, U3;0201=, 0;8H`, ., 231, 450,
convierte en centro de cenáculos intelectuales. Como si el cambio fuera una huida no solo
hacia fuera sino hacia dentro, sus mudas personales coinciden con mudas espaciales.
)323B><.,01,5-.,(-;<345<.,450,10,0-5-8<.,83B3,25P.7,/0,B0B37<.=,1<;5./3,0-,02,;<0B63,
/0,2.,<-L.-8<.,3,0-,02,-3e;<0B63,/0,2.,;5B>.9,M$2,U3B>70,:0-E.,.,>518.710,.,1E,B<1B3,0-,
231,701;31,/0,15,6.1./3N,CZ[[]9,\uqFg,M$-,02,<7,G,:0-<7,8.67<8U313,/02,630;.,637,2.1,75;.1,/0,
2.,.510-8<.=,2.1,32.1,/02,B.7,G,2.1,;<7.-E.1,/0,(BA7<8.,23,0B65@.73-,/0,70P7013,.,)323B><.N,
CZ[[]9,\f\FH,(,601.7,/0,151,630B.1=,/0,15,6.7Y>32.,/02,70;37-3=,151,6.131,23,.20@.-,BY1,450,
23,.8078.-,.,010,80-;73,</0.2<O./3,/0,0T<1;0-8<.,757.2,G,L.B<2<.7,</E2<8.H,$-,83-;7.1;0=,2.,8<5/./,
`13>70,;3/3,SAT<83=,;.B><A-,_.,X.>.-.`,01,02,016.8<3,10/58;37=,02,25P.7,/0,B3/07-</./,
G, 8.B><3H,(22E, ;7.-185770, 2., B.G37, 6.7;0, /0, 5-., :</., :<-852./., ., 231, .:.;.701, 632E;<831, G,
culturales de Centroamérica. Esta ambigüedad se ve cifrada en las parábolas escritas por el
630;.H,M%5,:</.,L50,5-,<-Q;<2,<710,/0,;3/.1,6.7;01,6.7.,<-:.7<.>20B0-;0,70P701.7,250P3=,83B3,
5-,L.-;.1B.,650>207<-3,450,:502:0,.,/01.-/.7,231,6.131N,CZ[[]9,\u\FH
$2,><DP7.L3,V07-.-/3,W.220@3,10,0-L70-;.,.,5-.,63/0731.,RP57.=,450,B3-;D,5-,01608;Y8523,
/0,1E=,83-,5-.,-E;</.,83703P7.LE.,837637.2H,".7.,02,630;.=,83B3,6.7.,;3/31,231,B3/07-31=,2.,
:</.=,5-</.,.,2.,2<;07.;57.=,.15B<D,5-.,L37B.,01;A;<8.=,450,10,:<-852.,.,5-,01;<23,<-83-L5-/<>20=,
852;<:./3,83B3,83B620B0-;3,/0,2.,0187<;57.H,$-,231,<-<8<31,/0,2.,B3/07-</./=,"37R7<3,d.7>.,
p.83>=,1<;5./3,0-,2.1,6507;.1,/0,2.,:.-P5.7/<.=,01,5-,15@0;3,B3/07-3,450,.;7.:<01.,2.1,87<1<1,
/0,231,83B<0-O31,/02,1<P23,=,83B3,630;.,G,607<3/<1;.H,"73;.P3-<O.,151,6736<.1,A6<8.1=,
01;708U.B0-;0,702.8<3-./.1,83-,15,10T5.2</./,G,01;0,P01;3,20,220:.,.,./36;.7,631<8<3-01,
83-;7./<8;37<.1,0-,;3/31,231,8.B631H,".7;<8<6.,/0,2.1,70:3258<3-01,G,2.1,/<8;./57.1H
_., , RP57., 10, 83-1;75G0, ., 6.7;<7, /0, 0131, 3;731=, 85G.1, U<1;37<.1, 0-;70P.-, 701</531=, 231,
;01;<P31=,450,83B6.7;<073-,15,:</.,G,10,0-850-;7.-,0-,2.1,6507;.1,/0,2.,B507;0H,$-,;3/.1,
022.1,67<B.,2.,<B637;.-8<.,/02,01608;Y8523,G,/0,2.,B<7./.,/0,231,/0BY1H,(,15,:0O=,15,3>7.,
2<;07.7<.,,01;Y,220-.,/0,,B.78.1,60713-.201,G,15>@0;<:.1,G,83-1;75G0,5-,B<;3,/0,.5;37,63;0-;0H,
V07-.-/3,W.220@3,-3,<-;0-;.,U3B3P0-0<O.7,;3/.1,01;.1,L.80;.1=,/0@.,450,02,208;37,3;37P50,2.,
5-</./,><3P7YR8.,.2,673;.P3-<1;.=,70160;.-/3,2.,L7.PB0-;.7<0/./=,<-8251<:0,.80-;5.-/3,02,<7,
G,:0-<7,0-,02,;<0B63,G,0-,02,016.8<3H
b-.,6.7;0,<B637;.-;0,/0,B<,><3P7.LE.,2.,83-3O83,637,2.1,6.2.>7.1,.@0-.1,/0,B<1,
67D@<B31,G,1<0B670,83-,5-.,;3-.2</./,0B38<3-.2,/0;07B<-./.9,-.8<B<0-;3=,37<P0-=,
1580131,/0,2.,:</.,L.B<2<.7,G,-.8<3-.2,/57.-;0,2.,<-L.-8<.,;0B67.-.,hHHHj,%<-,01;31,
702.;31,/0,3;731,B<,:</.,-3,1D23,8.70807E.,/0,620-<;5/,/0,83-;0-</3,G,/0,82.7</./=,
1<-3,450,607B.-0807E.,<-;07-.B0-;0,L7.PB0-;./.=,L.2;.,/0,5-.,+$"=1=(4"&%5A !12
:.237.>20N,Cd.@;<-,\ !9\]fFH,
2
Las cursivas son del original.
LOS FANTASMAS DEL VIAJERO. PORFIRIO BARBA JACOB Y FERNANDO VALLEJO 111
d.7>., p.83>, 10, /020<;., 0-, 2., 673L51<D-, /0, 151, <BYP0-01=, 07<P0, 15, 6736<3, B3-1;753H,
'3/3,B3-1;753,0-8.7-.,2.,/<L070-8<.,G,83B><-.,673U<><8<D-,0,<B631<><2</./,.2,7067010-;.7,
23,83-;7.e-.;57.2H,(6.7080,83B3,M02,B3/023,0-,.5B0-;3N,3,M02,P7.-,B3/023,/0,;3/.1,2.1,
60450?.1,/<L070-8<.1N,G,10,/<80,0-,2.,B0O82.,/0,36501;31H,_3,B3-1;75313,-3,1323,0-8.7-.,
0-,5-,15@0;3,1<-3,450,10,702.8<3-.,83-,;3/3,/0137/0-,-.;57.2=,B37.2,3,138<.2H,_.,6.2.>7.,
MB3-1;753N,673:<0-0,/0,monstrare=,G,23,B3-1;75313,01,23,450,10,B501;7.,156072.;<:.B0-;0=,
.450223,450,63-0,0-,0180-.=,<B631<>20,/0,/<1<B52.7,5,3852;.7H,$-,02,Diccionario de María
S32<-07, 10, /0R-0, 02, B3-1;753, 83B3, M%07, 450, ;<0-0, .2P5-., .-37B.2</./, B5G, -3;.>20, G,
L0.H,%07,/0L37B0NH,"073,;.B><A-,10,0B620.,83B3,-3B>70,8.2<R8.;<:3,0-,.631<8<D-,83-,02,
1<P-<R8./3,/0,MB.P-ER83,G=,83-,10-;</3,U<607>D2<83=,70L07</3,.,5-.,60713-.,450,;<0-0,/3;01,
0T8068<3-.201,6.7.,.2P3NH,
%0, 650/0, 60-1.7, ., "37R7<3, d.7>., p.83>, /01/0, 2., /<L070-8<., G, 2., 0T8068<3-.2</./,
6073=, 13>70, ;3/3=, 2., 10T5.2</./, G, 2., 0-L07B0/./H, $-, 151, /0L37B</./01=, /01:<.8<3-01=,
P<P.-;<1B31=, .-3B.2E.1=, .>G088<3-01=, .2P5-., L37B., /02, 63/07, 10, <-187<>0, 6.7., L37@.7=,
83-107:.7,3,83B>.;<7,.,231,B3-1;7531,450,./36;.-,5-.,P7.-,:.7<0/./,/0,:0231,G,736.@01.3
_.,B<;323PE.,/0,d.7>.,p.83>,./B<;0,.2,B0-31,;701,BY18.7.1,80-;7.2019,S<P502,y-P02,
r137<3=, U<@3, G, -<0;3, /0, 8.B601<-31, .-;<3450?31=, B.01;73, 757.2, G, 132/./3, /0, 2., P5077.,
/0,231,B<2,/E.1g,#<8.7/3,(70-.201=,02,U3B>70,450,/0165A1,/0,.;7.:01.7,231,.70-.201,/02,
0T<2<3,G,220P.7,.,,x5.;0B.2.,37<P<-.,.2,0-<PBY;<83,%0?37,/0,(70;.2=,L.18<-.-;0,60713-.@0,
/0,2.,R88<D-,/0,#.L.02,(7A:.23,S.7;E-0O=,G=,637,Q2;<B3=,"37R7<3,d.7>.,p.83>=,02,7013-.-;0,
6.;73-EB<83,83-,02,450,02,630;.,<-P701.,.,2.,U<1;37<3P7.LE.,2<;07.7<.=,2.,R7B.,80-;7.2,/0,2.,
3>7.,63A;<8.,83-,2.,450,;7.-1<;.,2.,B.G37,6.7;0,/0,15,:</.H,
$-,8./.,B5/.,U.G,0-;<07731,G,701577088<3-01,450,13-,3R8<./31=,/0,B3/3,7<;5.2=,637,
02,B<1B3,60713-.@0H,_.,2<1;.,/0,BY18.7.1,B0-3701,G,105/D-<B31,01,2.7P.H,$-;70,022.1=,
02,%0?37,/0,(70;.2,G,S.E-,<BA-0O=,p5.-,%<-,'<077.,G,$2,)3770163-1.2,W<.@073H,)./.,5-.,
de las máscaras se compone cuidadosamente pensando en un espectador, casi como
5-,702.;3,450,70.2<O.,5-.,6501;.,.2,/E.,/0,5-,.5;37=,.>1325;.B0-;0,83-18<0-;0,/0,01;.7,
870.-/3, 15, 6736<3, B<;3H, V07-.-/3, W.220@3, 0-1.G., 15801<:.1, U<6D;01<1, 6.7., 0T62<8.7, 231,
cambios de nombres.
$2, -3B>70,(70-.201, 83-, 02, 450, 83B<0-O., 02, 0T<2<3, G, 20, .83B6.?., /57.-;0, /<08<1A<1,
.?31,70B<;0,.,/01<07;3,G,.70-.H,c0165A1,/0,5-,L.213,G,01;5/<./3,L5-07.2=,2.,<B631<8<D-,/02,
7013-.-;0,.2<.1,"37R7<3,d.7>.,p.83>,U.,1518<;./3,BQ2;<6201,<-;07670;.8<3-01,631;07<3701H,
".7.,.2P5-31,83B3,p31A,_0O.B.,_<B.,02,.602.;<:3,01;Y,:<-852./3,.,2.,208;57.,/0,2.,d<>2<.H,
Mo3,/0185>7E,02,B<1;07<3,/02,-3B>70N=,.R7B.,V07-.-/3,W.220@3=,45<0-,23,0-83-;7D,0-,02,2<>73,
/0,S0-A-/0O,G,"02.G3,Los Heterodoxos,/0,\ \u,/3-/0,U.>2.,/02,.6D1;.;.,d.7>.,p.83>,
/02,1<P23,W*H,%<-,0B>.7P3=,2.,0T62<8.8<D-,650/0,107,BY1,10-8<22.,G.,450,5-,630B.,450,
r13701,0187<>0,.,5-.,@3:0-,.-;<3450?.,10,;<;52.9,M$-,2.,B507;0,/0,).7B0-,d.7>.,p.83>NH,
En la composición Los Desposados de la Muerte=, 10, B0-8<3-., 5-, d.7>., p.83>, 0-, 02,
2<1;./3, /0, 630;.1, B507;31H, $1;31, /31, 020B0-;31, U.80-, 60-1.7, ., W.220@3, 450, 02, -3B>70,
01;Y,B58U3,BY1,:<-852./3,.,2.,U<1;37<.,60713-.2,/02,630;.=,.,15,./320180-8<.,G,@5:0-;5/,
.-;<3450?.1H
Uno de los relatos determinantes de las lecturas del mito de autor es el relato/retrato,
83-,02,450=,0-,:</.,/0,(70-.201=,23,<-B37;.2<O.,02,P5.;0B.2;083,#.L.02,(7A:.23,S.7;E-0O,
en El hombre que parecía un caballo. $1;0,;0T;3,.2<B0-;D,15,LY>52.,0-;70,231,B3/07-31,G,
1<7:<D,6.7.,<-187<><7,15,<B.P0-,/0,B3/3,/0R-<;<:3,0-,2.,2<;07.;57.,.,6.7;<7,/0,2.,.-37B.2</./H,
S58U., ;<-;., U., 8377</3, .8078., /0, 01;., R88<D-=, /3-/0, 10, 0180-<R8., 02, 0-850-;73, 0-;70,
02,.5;37,G,02,630;.H,".7.,W.220@3=,#.L.02,(7A:.23,M)3-38<D,.,(70-.201,G,0B60OD,.,>7<22.7,
83B3, >7<22., 5-, 1.;A2<;0, 83-, 2., 25O, /0, 15, 01;7022.H,(, 70a0@.7, 231, /01;02231, /02, 3;73N, CZ[[]9,
\[!FH,#.L.02,(7A:.23,S.7;E-0O,10,83-:<07;0,0-,5-,<B637;.-;0,B0/<./37H,c.-<02,d.2/071;3-,
3
En Los Anormales. Una genealogía de lo monstruoso,CZ[[!F,S<8U02,V358.52;,;7.>.@.,83-,231,15@0;31,.,45<0-01,0-,02,1<P23,*,
10,/0-3B<-.>.,.-37B.201,G,10,83-1</07.>.,602<P73131H,(1E,/0R-0,151,;701,RP57.1,67<-8<6.2019,231,B3-1;7531=,231,<-83770P<>201,
G,231,3-.-<1;.1H,
112 KATATAY Rotaciones
B501;7.,2.,<B637;.-;0,8.7P.,U3B3LD><8.,450,70:02.,02,702.;3,/0,(7A:.23,/3-/0,02,%0?37,
/0,(70;.2,0-8.7-.,.2,B<1B3,;<0B63,23,;7.180-/0-;0,G,23,.-<B.2,0-,2.,/E./.,Y-P02n8.>.223H,
c01/0,2.1,67<B07.1,6.2.>7.1,(7A:.23,U.>2.,/0,M.-37B.2,83-;.8;3N9
%0,:32:<D,/0125B>7./37,G,018A-<83,83B3,02,8.>.223,/0,5-,0B607./37,0-,5-.,6.7./.,
B<2<;.7H,_.1,132.6.1,/0,15,20:<;.,;0-E.-,:.P.,10B0@.-O.,83-,2.,;Q-<8.,<-;07<37,/0,
5-,837802,/0,2.,$/./,S0/<.=,0-@.0O./3,6.7.,5-,;37-03H,_0,8.E.-,>.@3,2.1,-.2P.1,
0-@5;.1=,.8.7<8<.-/3,231,70B31,R-31,G,020P.-;01H,o,0B60OD,15,.8;5.8<D-,;0.;7.2,
C\ \q9,fFH,
$2, %0?37, /0,(70;.2, 01, 02, 0@085;.-;0, /0, 5-, 83B62<8./3, G, L.18<-.-;0, 7<;5.2, /3-/0, 2.1,
.2B.1,10,:502:0-,M8D-8.:.1NH,$-8.-/<2.,83-,15,8.7;.6.8<3,/0,:07131=,0-8<0-/0,2.1,.2B.1,
G,231,8507631H,,$2,.2B.,/02,10?37,/0,(70;.2,10,;37-.,5-,0-<PBY;<83,63O3,G,02,L50P3,0-,5-.,
L37B.,/0,15,B0-1.@0H,c0,-3>20,8.>.223,.,>57/3,.-<B.2=,/07<:.,80-;.573,/0,731;73,U5B.-3,
G,850763,/0,>01;<.H,,$2,B0-1.@073,/<:<-3,01=,.2,B<1B3,;<0B63=,5-,B0-1.@073,<-83-18<0-;0,
450,673/<P.,02,><0-,6073,-3,23,;<0-0,83-1<P3H,%5,.B37.2</./,23,83-/0-.,G.,450,02,8.>.223,
G,02,Y-P02,10,;38.-=,6073,23,.-<B.2,670/3B<-.,13>70,23,016<7<;5.2H,$-,02,;0T;3,/0,(7A:.23,
S.7;E-0O,01;Y,02,37<P0-,/02,;E;523,/0,2.,><3P7.LE.,/0,V07-.-/3,W.220@39,2.,6.2.>7.,MB0-1.@073N,
.83B6.?./., 637, 2., 1<250;., /0, 5-, 8.B<-.-;0, 450, 10, .20@., 6701</<0-/3, 2., ;.6.H, )3B3, 23,
.10:07.,02,B<1B3,.5;379,M"073,A1;.,-3,01,2.,U<1;37<.,/0,&<8.7.P5.=,;.-,B0O45<-.,G,.101<-.,
83B3,)323B><.,3,8.1<,8.1<H,'.B6383,2.,/0,#5>A-,c.7E3=,450,0187<><D,$/02>07;3,'37701,G,
450,01;Y,0-;077./3,0-,2.,8.;0/7.2,/0,_0D-=,/3-/0,02,;<0B63,10,/0;5:3H,$1,2.,U<1;37<.,/02,
B0-1.@073N,CZ[[]9,ZquFH
r;73, 670e;0T;3, L5-/.B0-;.2, /0, 2., ><3P7.LE., /0, V07-.-/3, W.220@3, 01, 02, 857<313, 702.;3,
.5;3><3P7YR83,La Divina Tragedia=,5-.,-.77.8<D-,450,d.7>.,p.83>,83238D,.,B3/3,/0,67D23P3,,
en el libro Rosas negras=,5-.,0/<8<D-,/0,151,630B.1,450,.806;D,-3,1<-,/<183-L37B</./,
C708U.OD,2.,B.G37E.,/0,231,<-;0-;31,/0,83B6<2.7,151,6301E.1FH
En El mensajero, 2., 702.8<D-, 0-;70, ><DP7.L3, G, 630;., 01, .1<BA;7<8.H, %<, ><0-, 0180-<R8.,
2.,U<1;37<.,/0,2.,0187<;57.,/0,2.,><3P7.LE.,G,70a0T<3-.,13>70,15,;.70.=,W.220@3,10,80-;7.,0-,
02,630;.=,85G.,6.2.>7.,670/3B<-.,13>70,02,80-;73,.5;37<.29,MS<,0B6701.,07.,5-.,8.7707.,
83-;7.,2.,B507;0,G,2.,;0-E.,607/</.N,CZ[[]9,uuFg,MX0,B0/</3,2.,;<077.,0-,151,B<1B31,;70-01,
G,02,B.7,0-,151,B<1B31,>.7831N,CZ[[]9,\]fFH
$2,><DP7.L3,:.,0-,>518.,/0,231,3;731,/02,.5;37=,231,;01;<P31,/0,15,:</.,G,/0,15,B507;0H,
En una carrera contra el tiempo intenta encontrar las huellas del poeta colombiano, no
1D23,0-,151,><DP7.L31,1<-3,;.B><A-,0-,151,.B.-;01H,"<0-1.,450,.,;3/31,231,450,<-;0-;.73-,
0187<><7,15,:</.,10,201,018.6D,15,U5</<O.,RP57.9,p5.-,d.5;<1;.,p.7.B<223=,S.-502,p.7.B<223,
S01.=,XA8;37,x3-OY20O,#3@3=,U<@3,/0,$-7<450,x3-OY20O,S.7;E-0O=,_<-3,x<2,p.7.B<223=,WE8;37,
(B.G.,x3-OY20O,G,%U.R8wH,(,;3/31,M10,20,01L5BD,0-,231,.731,/0,U5B3,/0,15,B.7<U5.-.N,
CZ[[]9,\!^FH,
Entre fantasmas
_., ;037E., /0, 2., ><3P7.LE., 450, 151;0-;., 2., 3>7., 10, 0T62<8<;., /0, B3/3, 83-;<-53, 0-, 5-.,
1507;0,/0,B.-5.2,/0,<-1;7588<3-019,M)DB3,0187<><7,5-.,><3P7.LE.=,5-.,1507;0,/0,B.-5.2,
<B62E8<;3, 708507/31, 6736<31, BY1, .@0-31N, CZ[[]9, \!^FH, "37, B3B0-;31, W.220@3, 10, 607B<;0,
0180-<R8.7=,.,;7.:A1,/0,/<Y23P31=,15,702.8<D-,83-,02,630;.=,0-;3-801,<B6708.,.,15,13B>7.9,
Mo3,220:3,2.1,850-;.1,/0,15,:</.,B0@37,450,b/H,_.1,450,10,B0,U.-,U08U3,5-,0B>73223,13-,
2.1,BE.1N,CZ[[]9,\^]FH,c01/0,02,25P.7,/02,<-:01;<P./37,<B62.8.>20=,W.220@3,87<;<8.,.,231,3;731,
><DP7.L319,p5.-,d.5;<1;.,p.7.B<223,S0O.,M0187<><D,15,><3P7.LE.H,r,B0@37,/<8U3,23,<-;0-;D=,
0-,5-,2<>7<;3,;.-,/0:3;3,83B3,.657./3,6.7.,1.2<7,/02,6.13,83-,15631<8<3-01,0,<-:0-;31N,
CZ[[]9,ZZuFg,M&3,10,B3201;D,0-,0-;70:<1;.7,.,2.,L.B<2<.H,X3G,;3/31,`02,630;.=,02,><DP7.L3=,231,
L.B<2<.701`,G.80-,>.@3,2.,B<1B.,;<077.,83-,151,708507/31N,CZ[[]9,ZZuFH,M(,BE,-3=,83B3,1<,
15,:</.,L507.,2.,BE.=,220P5A,.,1.>07,/0,A2,BY1,450,-./<0N,CZ[[]9,\!^FH
_.1,/<.;7<>.1,10,0-850-;7.-,BY1,.;0-5./.1,450,0-,3;7.1,/0,151,3>7.1H,%5,20-P5.@0,01,
B58U3,B0-31,/02<7.-;0,C0-,70.2</./=,B0-31,/<1;.-8<./3F=,45<OY,637,2.,0B6.;E.,83-,2.,RP57.,
/0,d.7>.,p.83>H,%0,3>107:.,5-.,8<07;.,83-;0-8<D-,/02,><DP7.L3,L70-;0,.2,/02<7<3,/02,.5;37H,
LOS FANTASMAS DEL VIAJERO. PORFIRIO BARBA JACOB Y FERNANDO VALLEJO 113
_.,</0-;<R8.8<D-,10T5.2,01,0:</0-;0,.1E,83B3,2.,./B<7.8<D-,637,02,U3B>70,450,0-L70-;.,
5-.,138<0/./,220-.,/0,670@5<8<319,Md.7>.,p.83>,07.,U3B310T5.2,G,B.7<8.,23,670P3-.>.,.,
231,85.;73,:<0-;31NH,$-,;3/3,B3B0-;3=,23,.858<.,2.,670P5-;.,637,2.,</0-;</./,/02,U3B>70,
450,10,3852;.,/0;7Y1,/0,;.-;.1,BY18.7.1=,8.7P./3,/0,01;<PB.1,<-8<07;31,83B3,02,.101<-.;3,
G,02,73>3H
#08507/3=, 0-, 8.B><3, 85.-;3, h(20@.-/73, #0G01j, B0, 83-;D, /0, d.7>., p.83>=,
6.2.>7.,637,6.2.>7.H,o,23,450,<B637;.,BY1H,_3,450,:3G,.,6.1.7,.U37.,.2,6.602,13-,
65731, 708507/31, /0, 708507/31H, X.P., 51;0/, /0, 850-;.=, 01.1, 8.@<;.1, 8U<-.1, 450,
:.-, 1.2<0-/3, 5-.1, /0, 3;7.1=, 0-, 107<0=, I>520;07.1K, ~o, 0-, 2., Q2;<B., 45A, U.>7Y, $2,
632:.70/D-,/02,'<0B63H,CZ[[]9,ZZ\F
h(2L3-13,).E-j,$1850;3=,8.1<,<-8376D703,/0,5-31,8<0-,.?31,G,5-.,6.2</0O,01608;7.2=,
83B3,5-,L.-;.1B.,20@.-3,-<,3E.,-<,:0E.,CZ[[]9,ZZFH
hp31A,S.7E.,'.220;jF,_.,S507;0,8U38.7707.,B0,23,670107:D,6.7.,450,83-1;.;.7.,,5-.,
831.9,2.,857<31.,B0B37<.,/0,231,:<0@31i,d.7>.,p.83>,10,20,U.>E.,P7.>./3,0-,2.,
B0B37<.,83B3,83-,02,8<-802,0-,2.,6<0/7.,CZ[[]9,] FH
X3G, '.220;, ;<0-0, [, .?31, G, .2, 83B6.7.723, 83-, 02, 450, L50=, 637, 5-, L5P.O, <-1;.-;0,
1<0-;3,450,85.-/3,G3,1.2P.,2.,B507;0,:.,.,0-;7.7,637,2.,6507;.,CZ[[]9,\uFH
h'3?3, %.2.O.7j, ~(Q-, :<:E., o3, 23, /.>., 637, B507;3i, -5-8., 10, B0, 38577<D, 450,
U5><07., 01;./3, :<:3=, 450, U5><07., 1</3, BY1, 450, 5-., 13B>7.=, 5-, L.-;.1B., 0-, 2.,
23857.,/0,2.,:</.,/0,(70-.201,CZ[[]9, ZFH
h(7450201,W02.j,70:<:0,6.7.,BE,01.1,-38U01,0-,02,".2.8<3,0-,450,0-;70,U5B.70/.1,
/0,8Y?.B3,E-/<83,02,/067.:./3,630;.,G,151,.8D2<;31,670;0-/E.-,<-<8<.720,0-,02,852;3,
/0,2.,c.B.,/0,2.,(7/<0-;0,).>02207.,G,151,B<1;07<31,CZ[[]9, [FH
La tarea del narrador se centra en perseguir la sombra del autor en otras sombras;
atisbar el fantasma en otros fantasmas. Intenta recuperar sus rastros en los periódicos,
0-, 231, 01;.-;01, /0, 2.1, ><>2<3;08.1=, 0-;70, 231, .78U<:31, 220-31, /0, 632:3, G, 2.1, B0B37<.1,
0-8077./.1,0-,:<0@.1,8.1.19,
)3B3, ., 5-, P0-<3, 450, 10, -31, U5><07., 018.6./3, /0, 2., >3;022., 01;3G, ;7.;.-/3, /0,
7085607.7,.,#<8.7/3,(70-.2019,8<0773,2.1,B.-31,6.7.,.6701.723,G,.P.773,U5B3,/0,
B.7<U5.-.,CZ[[]9,\[[FH
%0652;./3, 0-, 5-, .25/, /0, 20;7., <B6701., /0, 231, 450, 10, 83-107:.-, G.80, #<8.7/3,
(70-.201,607<3/<1;.,G,P7.-,607<3/<1;.,0-;70,231,P7.-/01,/02,607<3/<1B3,0187<;3,0-,
01;0,</<3B.,CZ[[]9,\[\FH
$-;7.,0-,83-;<-531,;7.;31,83-,2.,B507;0,450,20,01607.,.,8./.,6.13=,2.,8./58</./,/02,
B5-/3,450,<-;0-;.,7083-1;75<79,
114 KATATAY Rotaciones
$-,a.P7.-;0,83-;7./<88<D-,83-,2.,20G,67<B07.,/0,01;0,2<>73,10PQ-,2.,85.2,.2,450,G3,
>51450,10,B507.,CZ[[]9,\\\FH
$1;31,>.7831,450,1.2E.-,/0,231,6507;31,231,708<>0,U3G,5-3,0-,2.1,U0B073;08.1=,0-,
periódicos amarillentos, como si al hacerse a la mar, a la mar de agua, hubieran
;3B./3,02,B.7,/02,;<0B63,CZ[[]9,\]^FH,
_., BY45<-., /02, ;<0B63, -3, 01, P<;.-., 0B>.58./37., 450, <-:0-;., ;3/.1, 2.1, 831.1,
CZ[[]9,\]!FH
_., B<1B., :<0@., <-8DB3/., 10-1.8<D-, /0, 23, <B631<>20=, /0, 450, :<:.-, 231, B507;31,
CZ[[]9,Z!^FH
La desazón suprema
W.220@3, 7083-1;75G0, 010, 016.8<3, /3-/0, <-;07:<0-0-, 231, .7;<1;.1, 450, 673;.P3-<O.73-,
2.1, P7.-/01, 756;57.1, 632E;<8.1=, 852;57.201, G, 01;A;<8.1, /0, 2.1, 67<B07.1, /A8./.1, /02, 1<P23H,
X.G,5-.,7083-1;7588<D-,/0,231,P75631,/0,2.,:.-P5.7/<.,85>.-.,G,B0T<8.-.g,5-.,6<-;57.,
/0,231,P75631,/02,SAT<83,70:3258<3-.7<3,G,631;e70:3258<3-.7<3=,83-,01608<.2,.;0-8<D-,0-,
Los Contemporáneos. En la biografía se detalla minuciosamente la vida de la bohemia
80-;73.B07<8.-.H,$-,02,8.13,/0,)5>.=,W.220@3,10,.13B>7.,637,02,673;.P3-<1B3,/0,(70-.201,
en la lucha contra la tiranía:
~J5A,U.8E.,d.7>.,p.83>,.UE=,02,.-;<P53,132/./3,83-107:./37=,02,0T,B.01;73,/0,
escuela, el poeta, el invertido, el corrompido, el marihuana entre estos neologismos
U5B.-31,/0,(BA7<8.=,U.>2.-/3,0-,@07P.,CZ[[]9,\ FH
(22E=,0-,010,8.LA,450,G.,-3,0T<1;0,BY1,450,0-,02,708507/3,/0,5-31,:<0@31=,8E785231,
/0, .13B>7./31, 3G0-;01, 20, 3G073-, 70L07<7, 151, U<1;37<.1=, ;758520-;.1=, L.-;.1<31.1=,
/01:07P3-O./.1,U<1;37<.1,/0,5-,6.1./3,450,0-P7.-/08E.,15,B0B37<.,CZ[[]9,Z\FH
$2,-3:02<1;.,7018.;.,.2,607<3/<1;.,B3/07-3,450,L5-/.,/<.7<31,G,/0@.,87D-<8.1,<B>377.>201,
0-, SAT<83, G, )0-;73.BA7<8.H, "073, -3, 32:</., .2, 630;., 450=, 83B3, 20, /<80, #0-A, (:<2A1=,
M220:.>.,02,8<023,G,02,<-R07-3,0-,2.,20-P5.N=,450,.8;Q.,15,6.2.>7.,G,83-:<07;0,15,708<;./3,
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El deseo, enorme cicatriz luminosa: ensayos sobre homosexualidades latinoamericanas.
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4<X2'C<0'(<C)U(+<"-C-0+;<0'<C1<C)U(+<0'<!-j+2+*K-C;<'(<X(c(+U+<,+(+*Y)-2+<'2!.'/)c<
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en una preocupación central por el lenguaje en uso;<e.-C'<F1'<C1Y.-:+<"+.F1'<0).)U'<-<(-C<
ocupaciones<0'<12-<e-*)()-<!1!'(-.<0+20'<'(<W0'(),-0+^<:<W,+*"('J+^<O1'./+<0'C,1'((-<,+2<
C1<*+21*'2!-(<W+Y.-^;<'(<Diccionario de construcción y régimen de la lengua castellana,5
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1C+<W+Y.-^<.'e'.)0+<C+(+<-(<Diccionario…<'C<0'<O1'./+<'2<C1<V2!.+01,,)c2<-(<f+*+<P.)*'.+<
=Cfr&#<VVVA;<0'0),-0+<-<(-C<('!.-C<4<:<B;<0+20'<(+<0'X2'<,+*+<W+Y.-<'C"',)-(^&6 La palabra
obra ,+201,'< -< (-< )2*'2C-< (-Y+.< F1'< '(< W)2Cc()!+^< O1'./+7 desarrolló por más de veinte
-\+C;<".G,!),-*'2!'<C+(+;<"-.-<-/-2N-.<"+,+<.'C"',!+<0'(<-(e-Y'!+<,+*"('!+<=C+(-*'2!'<
".+01J+<0+C<!+*+C<0'0),-0+C<-<(-C<('!.-C<45B$<O5nA;<12-<(-Y+.<,1:-<'2/'.U-01.-<!-*Y)M2<
se encarga de señalar en dicha Introducción.6<R)2<'*Y-.U+;<F1)NGC<12+<0'<(+C<-!.-,!)/+C<
*-:+.'C< "-.-< Q-(('J+< C'< .'C1*-< '2< '(< 1C+< W'C"',)-(^;< -YC+(1!-*'2!'< +"+.!12+&< D+< ('+<
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EC!'< '2C-:+;< ,+2< '(< !K!1(+< WD-< 'C,.)!1.-< '2!.'< (-< /)0-< :< (-< *1'.!'^;< e1'< "1Y(),-0+< '2< '(< /+(1*'2< Noticias del diluvio. Textos
latinoamericanos de las últimas décadas&<D-<".'C'2!'</'.C)c2<,+2!)'2'<Y.'/'C<-U.'U-0+C<:<-(U12-<*+0)X,-,)c2<'2<Y'2'X,)+<0'<
su inclusión en el Dossier.
2
WO1'./+<'*"'Nc<C1C<Apuntaciones críticas del lenguaje bogotano;<12<()Y.+<F1'<O+(+*Y)-<-*c<:<que decidió mi vida^<=>?@>#<S7&<
R1Y.-:-0+<*K+A&
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En Peroratas le dedica dos intervenciones.
5
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+,-C)+2-0-C<G<C1C,)!-.(-m<:<(-<)2C1X,)'2,)-<0'<0), -C<e1'2!'C<'C<*+!)/+<Y-C!-2!'<"-.-<(-<,+*"+C),)c2<0'<12-<obra especial '2<F1'<
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EL CUERVO BLANCO DE FERNANDO VALLEJO @@I
6
<W`Y.-<(-.U-<:<0)eK,)(<'C<MC!-;<:<F1'<2)<"1'0'<C'.<,+*"('!-<2)<F1'0-.<'j'2!-<0'<'..+.&<E(<!)'*"+<'*"('-0+<"-.-<(('U-.<G<C-,-.<G<
(1N<'C!'<".)*'.<!+*+;<(-C<0)X,1(!-0'C<F1'<-,+*"-\-2<(-<)*".'C)c2;<:<(+C<-\+C<F1'<"-C-.G2<-2!'C<F1'<MC!-<C'<!'.*)2';<"+2'2<G<
".1'Y-<12-<"-,)'2,)-<)<(-Y+.)+C)0-0<F1'<2-0)'<"1'0'<".+*'!'.C'<C'-2<C+C!'2)0-C<"+.<(-<C-(10<:<0'*GC<,).,12C!-2,)-C<F1'< -2<
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<3'<.'X'.+<'C"',)-(*'2!'<-<(-C<Apuntaciones críticas sobre el lenguaje bogotano o a las Notas a la Gramática de la lengua
castellana de don Andrés B'((+&
10
Utilizo principio<i0)/'.C+<0'<+.)U'2i<'2<-!'2,)c2<-<(-<episteme<*+0'.2-;<C1<-eG2<e-Y.),-0+.<0'<c.0'2'C<:<C)C!'*-C&
11
E.-C*+;<B-,+2;<3)(!+2;<D+,t';<B'2<Z+ 2C+2;<"+.<'J'*"(+;<(('/-Y-2<()Y.+C<0'<(1U-.'C<,+*12'C&<
120 KATATAY Rotaciones
Es difícil desapegarse de El cuervo blanco 12-< /'N< F1'< '*"'N-*+C< C1< (',!1.-&<
n)eK,)(< +(/)0-.< )2X2)0-0< 0'< 0-!+C;< ,)!-C;< *+*'2!+C< F1'< "+.< (-< W*-2'.-^< ,+*+< Q-(('J+< (+C<
'2!.-*-;< -,'2<)*-U)2-.<12-<)2!)*)0-0<:<12<ethos<*GC<-((G<0'<(+<'C,.)!+<=:<'C,10.)\-0+A<
'C,.1"1(+C-*'2!';< F1'< 'C< *1, +< ='(< !K!1(+< 0'< 'C!'< -"-.!-0+< "-.-e.-C'-< -< d+-< B-C!+C;<
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('2U1-J'<'2<1C+<:<(-<e+.*-<"+.<'2,)*-<0'<!+0+<"+.F1'<-((K<C'<,+2J1U-<!+0+<:<0'C0'<-((K<'C<
"+C)Y('<0',).(+A&<D-<'j!'2C)c2<0'<'C!-<Y)+U.-eK-<C+Y.'<O1'./+<=!.'C,)'2!-C<C'!'2!-<:<21'/'<
"GU)2-CA<C'<-,+"(-<-<(-<K20+('<)2)2!'..1*")0-<0'<C1<'C,.)!1.-;<12<,+*"('J+<v1).<F1'<.', -N-<
'(</M.!)U+<:<(+<W, +,-2!'^;<,-()X,-!)/+<0-0+<"+.<C1C<,+2!'*"+.G2'+C<-<Q+(!-).';<'C'<*-'C!.+<
0'<Q-(('J+;<0)J';<F1'<"+.<*+*'2!+C<C'<,1'(-<'2<C1C<!'j!+C&@7 Es claro, la delicadeza de Cuervo,
12
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13
n),'<Q-(('J+<'2<El mensajero<=TTA#<W3)<'*".'C-<'.-<12-<,-..'.-<,+2!.-<(-<*1'.!'<:<(-<!'2K-<"'.0)0-^&<O+*+<*1, -C<+.-,)+2'C<
F1'<C1.U'2<CkY)!-*'2!'<'2<C1C<!'j!+C;<'2<U'2'.-(<,+.!-C<:<C'2!'2,)+C-C<="+!'2!'CA;<-0'*GC<0'<.'e'.).C'<-(<0-!+<F1'<C'</)'.!';<
"'.*)!'2<- +20-.<'2<C1C<,+2,'",)+2'C<C+Y.'<(-<'C,.)!1.-<'2<U'2'.-(&<n'C0'<-F1K<Q-(('J+<C'<.'(-,)+2-<,+2<U.-20'C<2-..-0+.'C<
0'<D-!)2+-*M.),-<F1'< -2<C)0+<*-'C!.+C<0'<(-<*'!-X,,)c2<=d+-<B-C!+C<'C<12<Y1'2<'J'*"(+<'2<'C"',)-(<"+.<(+C<".+Y('*-C<-<F1'<
-!)'20+<-F1K;<-12F1'<(-<()C!-<"+0.K-<C'.<'j!'2C-A&
14
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violencia, VIII Congreso ORBIS TERTIUS<=*-:+<0'<>?@>A<:<C+(),)!-0-<"-.-<C1<"1Y(),-,)c2&
15
9'<- +20-0+<'2<'C!-C<*-.,-C<'C"',)-(*'2!'<'2<Wn'<a'.2-20+<Q-(('J+<-<Q+(!-).';<"+.<'j,'C+C;<0)C"1!-C<:<!+('.-2,)-^<:<(-C<
.'/)C+<Y.'/'*'2!'<'2<(-<P.'C'2!-,)c2<0'(<Dossier.
16
Dos conceptos centrales en la episteme occidental moderna.
@7<
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EL CUERVO BLANCO DE FERNANDO VALLEJO 121
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su abandono de lo chocante, El cuervo blanco<C'<-('J-<0'<U.-20'C<2+/'(-C<0'<(-C<k(!)*-C<
0M,-0-C< =El desbarrancadero< 0'< >??@< "+.< 'J'*"(+A< "-.-< -".+j)*-.C'< -< El mensajero
=@II@A< :< -< Almas en pena chapolas negras< =@IITA;< (-C< Y)+U.-eK-C< C+Y.'< P+.X.)+< B-.Y-<
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!.'C<Y)+U.-eK-C<'2<,+2J12!+<Y-..'2<0'C0'<*'0)-0+C<0'(<C&<wVw<-<".)2,)")+C<0'(<ww<-<"-.!).<0'<
(-C</)0-C<C+Y.'<!.'C<W"-)C-2+C^<,+(+*Y)-2+C<0'0),-0+C<-<'C,.)Y).;<-12F1'<0)-*'!.-(*'2!'<
+"1'C!+Cm<'j,M2!.),+C;<"'.+<"+.<0)e'.'2!'C<.-N+2'C#<(-<WC-2!)0-0^<0'<O1'./+;<C1C<)2!'.'C'C<
2-0-<*120-2+C;<C1<0)C,)"()2-<:<,+2C-U.-,)c2<-<12-<!-.'-<F1'<('<(('/c<(-<C-(10<(+<1Y),-2<
'2!.'<(+C<W,+2C!.1,!+.'C^<0'<(-<*+0'.2)0-0<=C'Uk2<(-<0'X2),)c2<0'<-(U12+C<'2C-:)C!-CA;<'2<
(-C<-2!K"+0-C<0'<(+C<+!.+C;<'2<'C"',)-(<0'(<)!)2'.-2!'<P+.X.)+<B-.Y-<Z-,+Y;<0'<F1)'2<Q-(('J+<
dice en El mensajero#<W'C< 1*+^<=Q-(('J+<>??8#<S@>A&<E2!+2,'C;<"+.<(-<*+0-()0-0<-C1*)0-<
en El cuervo blanco;<'C'<.)U+.<)2/'C!)U-!)/+<:<'(<'C"K.)!1<"'0-UcU),+<=élan pédagogique)
F1'< '<*'2,)+2-0+<'2<(-<P.'C'2!-,)c2<0'(<Dossier<C+2<*-.,-C<F1'<'C!-</'N<2+<C'<")'.0'2<
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0'< Q-(('J+< '2< U'2'.-(A&< s< 0), -C< *-.,-C;< e+.!-(',)0-C< "+.< (-< 'j -1C!)/)0-0< -C+,)-0-< -(<
0'!-(()C*+< =(-C< ,)e.-C< +< (-C< .'e'.'2,)-C< -< (-C< e1'2!'C< )20),-0-C< 0'< ,+2!)21+< "+.< 'J'*"(+;<
eximen de comentarios), se alzan en gran magnitud volviendo presente la labor de Cuervo
'2<(-<,+2XU1.-,)c2<0'(<!'j!+&@6<Q-(('J+<,.)C!-()N-<0'<*+0+<conveniente o para comodidad
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'C!-C< ".+"1'C!-C< F1'< '2!)'20+;< 0)J';< ,+*+< YkCF1'0-C< -,)-< 12+C< +.KU'2'C< =+!.-< /'N< (-<
impronta genealogista).
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enumeración.@I<P-.','<F1'<O1'./+<U1-.0-Y-<!+0+<:</-('<(-<"'2-<-,(-.-.<'2<Y'2'X,)+<0'<
C1C<U'C!+C<:<".G,!),-C<-1!+XU1.-0+.'C<+<0'<C1<"'.X(<'j!.-+.0)2-.)+<=WO1'./+<C'<'2C'\c<C+(+^<
0),'<Q-(('J+<=>?@>#<_TA20A;<F1'<M(<*)C*+<0+2c<0), + legado a las generaciones venideras,
(+<F1'<,+2X.*-;<,+*+<C1,'0'<,+2<-(U12+C<('!.-0+C21 e intelectuales modernos de gran
,-()Y.';<(-<-1!+,+2,)'2,)-<0'(<-(,-2,'<0'<C1<(-Y+.<+<0'<(+<".+01,)0+<:<0'<(-<2','C)0-0<0'<
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paridad absoluta con autoridades europeas en su materia.22
f'C+.+C<:<*GC<!'C+.+C&<xs<:+<"'2C-20+<F1'<0'<O1'./+<:-<2+<F1'0-Y-<2-0-;<-"-.!'<
0'<(-< 1'((-<F1'< -YK-<0'J-0+<'2<*Ky&&&<D-<,(-/'<'C!-Y-<'2<B+U+!G;<'2<C1C<()Y.+C<
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Ws+;<,+*+<0+2<d1X2+;<C+:<.)U1.+C+<'2<(-C<,)!-C;<)2,-"-N<0'<,-*Y)-.<12-<,+*-^<=>?@>#<@8A&<W`YC'./-20+<- +.-<'(<-,!-<,+2<(-<
(1"-<0'(<X(c(+U+<C'<*'<+,1..'2</-.)-C<".'U12!-C<F1'<C'<('< -Y.K-2<+,1..)0+<!-*Y)M2<-<0+2<d1X2+^<=>?@># ibid.)
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126).
21
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22
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122 KATATAY Rotaciones
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según descubrí en uno de mis regresos de México a Colombia. La Biblioteca
empezaba cuando Cuervo nació; el Instituto cuando nací yo<=>?@>#<>_A&
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cierta posesión, tan ilusoria como la pretensión de narrar una vida. Además de dicha
especularidad, esta cita revela un encadenamiento donde la idea de sucesión prevalece
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de los materiales en diverso registro desplegados para generar un efecto-archivo;<:-<0'<(-<
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se ha encargado de explicarlo), pero además es la puerta de acceso a la pretensión de
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En diálogo, deseo recuperar las frases escritura ininterrumpida< :< efecto archivo
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23
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la Introducción de su Diccionario…;<,1-20+<C'<.'X'.'<-<(-C<"+,-C<e1'2!'C<,+2<F1'< -<,+2!-0+;<O1'./+<0'C,.)Y'<-<B'((+<-CK#<
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los otros, sienta esa diferencia mencionada en el modo sui generis< 0'< )2C'.!-.C'< '2< '(< 0+*)2)+< 0'< (+C< 'C!10)+C< X(+(cU),+C< :<
lingüísticos contemporáneos con Logoi, un volumen riguroso e insólito.
24
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25
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EL CUERVO BLANCO DE FERNANDO VALLEJO 123
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26
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0'(<0',).$<,+2!.-0',).<-(!'.2-0+C;<.'C1.U'<'2<C1<v1)0'N<:<".'U2-2,)-&<=9'<!.-Y-J-0+<'C!-<+"'.-,)c2<'2<WE(<,1(!+<0'<(-</)+('2,)-<
'*")'N-<"+.<'(<('2U1-J'^A&
>I
<R1Y.-:-0+<*K+&
124 KATATAY Rotaciones
E(<F1'<'C,.)Y'<C'*'J-2!'<*+2+U.-eK-;<F1'<0-<'((-<C+(-<"-.-<12<!.-!-0+;<C+Y.'<(-<
".)*'.-<('!.-<:<"-(-Y.-<0'<'C!'<)0)+*-;<'C<,-"-N<0'<(('U-.< -C!-<'(</'.Y+<[N+N+Y.-.]<
C)2< ).C'< -< ")F1'&< x{1M< '.*+C-< "-(-Y.-y< Q)'2'< 0'(< (-!K2;< 0'< C1Y< [-Y-J+]< :< C1".-<
[-..)Y-]<zb2</'.Y+<F1'</)'2'<0'<0+C<".'"+C),)+2'C|<Ej-,!+&<b2<*)(-U.+<'!)*+(cU),+<
0'<(+C<F1'<0'</'N<'2<,1-20+< -,'<n)+C<=>?@>#<@T@A&
O+*+< C'< /';< '(< We-2!-C*-^< :< '(< W:+^< 'C!G2< C)'*".'< '2,-0'2-0+C;< 2+< Cc(+< "+.< C'.<
Y)cU.-e+5Y)+U.-X-0+;<C)2+<"+.<12-<!-.'-<F1'<Q-(('J+;<-0'*GC<0'<.'(-!-.;<".-,!),-<,+*+<Y1'2<
0)C,K"1(+<5 '.'0'.+<=(+C<'J'*"(+C<C1.U'2<-<,-0-<*+*'2!+A;<,+2/).!)M20+(-<'2<e-C,)2-2!'<-(<
(',!+.5'C,1, -&<b2-<!-.'-<".'C'2!)N-0-<"+.<'(<.',1.C+<-<(-<'C,'2)X,-,)c2;31<F1'<2+C<)201,'<
a ingresar/permanecer amarrados en cada instancia expansiva a partir de las fuentes
C'(',,)+2-0-C<"+.<(-<W/+N^<F1'< -,'<como si<<2+C<(':'.-&<R)2<010-C<'C<12-<W/+N^<F1'<C'<
0'J-<+K.&<<<<<<<
Desde este aspecto es posible regresar al efecto archivo<:<.'!+*-.<(-<K20+('<0'<'C!-<
escritura ininterrumpida#<'C<.'(-J-0-;<-C)*)C*+;<"1'C<C'<C+C!)'2'<'2<(-<)*".+2!-<expansiva
F1'<-,-Y+<0'<0'C,.)Y).<'2<e-/+.<0'<12<.'(-!+<.-*)X,-0+<"+.<0'.)/-C<F1'<C'<XU1.-2<-N-.+C-C&<
E2< .'-()0-0;< (-< 'C"+2!-2')0-0< 'C< "1.+< -.!)X,)+< "1'C< C'< !.-!-< 0'< 12< 'J'.,),)+< ,+2!.+(-0+<
0+20'<N+2-C<0'<-"+:+<C'<-*"(K-2<"-.-<!.-2Ce+.*-.C'<'2<21'/+C<-2,(-J'C&<s<'C<(+<F1'<
sucede con el archivo cuando se consulta: se revitaliza, dirige azarosamente a distintas
e1'2!'C<".+"),)-20+<'(<,+!'J+;<(-<,+*"('*'2!-,)c2;<'(<,+2!.+(<0'<21'/+C<*-!'.)-('C&<P+.<
'((+;<"+.<'J'*"(+;<-(U12+<0-0+<"+.<*1'.!+<.'-"-.','</)/+;<'C,.)Y)'20+<+!.-<,-.!-<:<'2/)-20+<
C-(10+Cm< +< (+< F1'< C'< ,.''< )2),)-(*'2!'< 12-< .'"'!),)c2< 0'< (+< *)C*+< 'C< C+(+< ".)2,)")+< 0'<
-2,(-J'< ="+.< .')!'.-,)c2< 0'< 12< 0-!+< ,+2+,)0+A< -,)-< 12-< 21'/-< /1'(!-< 'j"-2C)/-&< R+2<
*+/)*)'2!+C<F1'<.'0120-2<'2<12-<dilatación en los sentidos combinados de extender y
demorar. Entonces la forma<0'<'C!-<Y)+U.-eK-<C)U2)X,- per se una investigación, una acción
C+Y.'<'(<-., )/+<F1'<"-.','<'C!-.<0G20+C';<0+20'<*+0-()0-0'C<"+C)Y('C<0'<'C,.)!1.-<'2<
,).,1(-,)c2< i"kY(),-< +< ".)/-0-i< )2 '.'2!'C< -< 21'C!.+C< principios modernos se vuelven
/)C)Y('C<'2<C1<"1.-<*-!'.)-()0-0<"-.-<*+2!-.<(-<!.-*-<=J12!+<-<(+<".+")+;<C'Uk2<C'\-(MA&<
n'<'C!'<*+0+<C'<C1"'.-<C1<,+20),)c2<0'<)2C!.1*'2!+C<0'<".1'Y-;<12-<"-(-Y.-<F1';<2+<
+YC!-2!';<Q-(('J+<C1'('<1C-.;<:<.')!'.+#<C'<-!'2!-<,+2!.-<(-<,+2,'",)c2<=:<(-<"+C)Y)()0-0A<0'<
una historia de vida como cursus o narrativa lineal producida a posteriori.
30
El cuervo blanco<'C<12-<e.-C'<W-".+")-0-^<"+.<Q-(('J+<".',)C-*'2!'<0'<P+!!<F1)'2<-CK<0'X2)c<-<O1'./+&<
31
WE2<'C!'<)2C!-2!'<'C!+:</)'20+<'(<+.)U)2-(<'2<e+!+,+")-&<x{1M<('!.-<*GC<'20'*+2)-0-y<P-.','<'C,.)!1.-<,12')e+.*'&<xs<'2<(-!K2y^<
=>?@>#<8@A&
32
La relectura de esta biografía desde El cuervo blanco, -CK<,+*+<(-<.'(-,)c2<O1'./+5R)(/-<-*'.)!-2<12<!.-Y-J+<F1'<'j,'0'<(+C<
límites del presente.
EL CUERVO BLANCO DE FERNANDO VALLEJO 125
"+C!1.-C<".+")-C<.'C"',!+<0'(<W'C"-,)+<Y)+U.GX,+^;33<12<0+*)2)+<'2<,1:-C<*-.,-C<Q-(('J+<
C'< 0'!)'2'< ,+2C!-2!'*'2!'&< 4U.'U+< F1'< (-< auto-referencialidad es otra apuesta fuerte,
C)'*".'< "+.< (-< /+(12!-0< 0'< "+2'.< '2< ,.)C)C< (-< .'".'C'2!-,)c2< =(-C< 0'2+C!-,)+2'C< 0'< (-<
e+.*-()N-,)c2< .'-()C!-< :< C1C< ".+,'0)*)'2!+C;< '2< 'C"',)-(< '(< 1C+< 0'< (-< !'.,'.-< "'.C+2-<
omnisciente, son constantes en sus narrativas). En atención a estas inclinaciones, la muerte
nos recibe en El cuervo blanco;<:<2+<'C<12-<'(',,)c2<)2e.',1'2!'&<Q-(('J+<(-<W".'XU1.-^<0'<
*+0+<+YC'C)/+<:<'2<(-<"-(-Y.-<'2!.',+*)((-0-<.'C1'2-<3+2!-)U2';<+!.+<0'<C1C<*-'C!.+C<
0)J'<='2<El don de la vida;<2+<C+(+<!.-2C,.)Y'<C1<()Y.'!-<0'<*1'.!+C;<C)2+<F1';<-0'*GC<0'<
nombrarla, la instala como interlocutora34A&<P'.+<(-<'(',,)c2<!-*"+,+<'C<)2U'21-<.'C"',!+<
0'<(-<,+2,'",)c2<U'2'.-(<0'<'C!-<Y)+U.-eK-;<F1'<0'*1'('<(-<)0'-<0'<+.)U'2<=0'<(-</)0-A<+<
,-1C-< ".)*'.-;< -CK< ,+*+< (-< +.U-2)N-,)c2< ,.+2+(cU),-< :< C',1'2,)-(< -,)-< 12-< X,,)c2< 0'<
completamiento e inteligibilidad.35 En El cuervo blanco se alude a la muerte desde su lugar
0'<-C'2!-*)'2!+#<'(<".)*'.<C)!)+</)C)!-0+<'2<'C!-<Y)+U.-eK-5YkCF1'0-<U'2'-(cU),-<0'<d1X2+<
Z+CM<'C!G<'2<a.-2,)-;<'C<'(<,'*'2!'.)+<=W(-<,)10-0<0'<(+C<*1'.!+C^<0),'<Q-(('J+A<0+20'<'(<
X(c(+U+<.'"+C-<"+.<0',)C)c2<".+")-;<:<-CK<C'<'*")'N-<"+.<'(<X2-(<i0'<(-</)0-i&<E(<Y)cU.-e+<
0'-*Y1(-<"+.<C1C<W,-(('C^< -C!-<F1';<'2!.'<(+C<G.Y+('C;</'<12<"GJ-.+<2'U.+<F1'<(+<,+201,'<
-<(-<!1*Y-;<-<(-<(G")0-;<-(<'")!-X+&<oC!'<'C<'(<.'C!+<F1'<*)<'21*'.-,)c2<0'C+.0'2-0-<0'<
(-C<e1'2!'C<1Y),-<'2<".)*'.<(1U-.<"+.F1'<C'<,)!-<,+2<0'!'2)*)'2!+<:<0'<*+0+<'2!.',+.!-0+;<
,+2< "12!+C< C1C"'2C)/+C< '2!.'< "-(-Y.-C< :< e.-C'C< F1'< -X.*-2< '(< !+2+< 'j"',!-2!'< 0'< (-<
YkCF1'0-;<'(</-(+.<0'(< -((-NU+<:<(-<1Y),-,)c2<0'<O1'./+<,+*+<)2!'.(+,1!+.<".)/)('U)-0+#<
WO+2<(-<"12!-<0'(<"-.-U1-C<*'<0)<-<.-C"-.(+<=C'<.'X'.'<-(<*1CU+<F1'<,1Y.K-<(-<!1*Y-A<qpr<
e1)C!'<-"-.',)'20+<!k#<[d1X2+p<Z+CMp<O1'./+p<2-,)0+<'2<B+U+!Gp<'(<@I<0'<C'"!)'*Y.'<
0'<@6SSp<*1'.!+<'2<P-.KCp<'(<@7<0'<J1()+<0'<@I@@^<=>?@>#<@@A&<P'.+<'(<!+2+<01.-<"+,+<
"1'C<C'<".+*1'/'<'(<'e',!+<.)C)Y('< -(<0'C,.)Y).;<-2!'<(-<W"+Y.'<!1*Y-^<0'(<Y)+U.-X-0+;< -<
W12<"+Y.'< +*Y.'<-..+0)((-0+^<='(<Y)cU.-e+A#<Wzd'N-20+|<x{1M</-;<:+<212,-<.'N+y<EC!-Y-<
-2+!-20+^<=>?@>#<Ibid.).
Dicha referencia cierra El cuervo blanco<0'C0'<12<"G..-e+<C)*)(-.<-12F1'<-Y.'/)-0+;<
)2,(1C+< "+.< (-< .'"'!),)c2< 0'< (-< )*-U'2< 0'(< .-C"-0+< ,+2< (-< "12!-< 0'(< "-.-U1-C;< F1'< '2<
)2),)+C< *'!-e+.)N-< '(< ,+*)'2N+< 0'< 12-< YkCF1'0-< 0'< /)C+C< -.F1'+(cU),+C36< =:< ")'2C+< '2<
O1'./+;<C1C<)20-U-,)+2'C<C'*-C)+5'!)*+(cU),-C<-<"-.!).<0'<1C+C;<'C'<('/-2!-.<,-"-C<0'<
!)'*"+<0'C0'<e1'2!'C<F1'<!.-N-2<U'2'-(+UK-C<)0)+*G!),-C<'2<"GU)2-C<-Y-..+!-0-C<0'<,)!-C;<
.'e'.'2,)-C<21*M.),-C;<-Y.'/)-!1.-C;<!+0+C<C)U2+C<0'<C1<!-.'-<,),(c"'-<F1'<0'C-,.'0)!-2<
,1-(F1)'.<010-A&<D-<)*-U'2<C'<.'!+*-<:<.')2,)0'<'2<(-<*)C*-<-,,)c2;<12-<YkCF1'0-<F1'<
"'.C)C!'<"'C'<-<F1'<(-<+C,1.)0-0<0'(<'2!+.2+<+Y()U1'<-<C1<,(-1C1.-;<0).K-;<12-<)*"+C),)c2<
-J'2-<-(<0'C'+<0'(<Y)cU.-e+&<E2!+2,'C;<-(<X2-(<'C!G<(-<"M.0)0-#<(-C<"-(-Y.-C<)2C!-1.-2<'(<
!+2+< 2+C!G(U),+< :< '2!.'*'N,(-2< 0'C".'20)*)'2!+C< =0'(< yo50'(< fantasma50'< (+C< cuervos).
D-< 0)C!-2,)-< '2!.'< '(< Y)cU.-e+< :< '(< Y)+U.-X-0+< C+Y.'/)'2'< "+.< '(< 1C+< 0'(< ".+2+*Y.'< WM(^<
0'C!)2-0+<-<O1'./+<=:-<2+<'C<'(<)2!'.(+,1!+.<".)/)('U)-0+;<C)2+<-<F1)'2<C'<((+.-<"+.F1'<2+<
'C!GA;<12<WM(^<F1'<'C;<-0'*GC;<(-<k(!)*-<"-(-Y.-<0'(<()Y.+#<
3'< -..+0)((M< "-.-< (''.< *'J+.&< E(< C+(< C'< "1C+< :< '*"'Nc< -< +C,1.','.&< D+C< G.Y+('C<
C)2< +J-C< 0'(< )2/)'.2+< C'< e1'.+2< Y+..-20+< ,+2< (-C< C+*Y.-C&< R'2!K< '2!+2,'C< F1'<
-C,'20K-< .1*Y+< -(< ,)'(+< 0'< ,'2)N-;< ,+*+< 12< ,1'."+< -C!.-(< F1'< 0'J-< (-< *-!'.)-;<
,+*+<12<e-2!-C*-<F1'<C'</-&<P'.+<2+;<2+<'.-<:+<'(<F1'<-C,'20K-;<'.-2<(+C<,1'./+C<
F1'<C'<)Y-2&<s+<C'U1K-<-..+0)((-0+<-Y-J+<-2!'<(-<!1*Y-;<,-.U-20+<,+2<O+(+*Y)-<:<
llorando por él<=>?@>#<87I&<R1Y.-:-0+<*K+A&
33
Esta denominación,<'*"('-0-<"+.<P &<D'J'12';< -<C)0+<!+*-0-<"+.<0)C!)2!+C<,.K!),+C<0'<*-2'.-<()!'.-(<+<'2<C'CU+;<0-0-<C1<
+"'.-!)/)0-0&< D-< .',1"'.+< "-.-< Q-(('J+< ,+*+< .'C'./+.)+< 0+20'< ,).,1(-2< C1C< .'(-!+C< F1';< -< (-< "-.;< C'< C-!1.-2< 0'< )2v'j)+2'C< :<
C+2<'e',!1-,)+2'C<'2<'C-<'e',!1-,)c2<*-:+.&<P+.<C1<-*"()!10;<(-<0'2+*)2-,)c2<C'<,-.U-<0'<-*Y)Ul'0-0<:<MC!-<)2C!-1.-<,)'.!+<
"'.X(<Y+..+C+<+<'2)U*G!),+<F1';<,+*+<'C<"+C)Y('<)2e'.).<0'<*)<0'C-..+((+<U'2'.-(;<.'C1'2-<'2<(+C<!'j!+C<0'<Q-(('J+<12-<:<+!.-</'N<
-,)'20+< ".'C'2!'< (-< ,+*"('J)0-0< F1'< -..-C!.-< ,1-(F1)'.< -,!+< 0'< ,-!'U+.)N-,)c2< 0'*-C)-0+< 'C!.),!-< "-.-< ,-0-< ,-C+;< 'C!+< 'C;<
desmoronando pretensiones generalizadoras.
34
QM-C'<(-<2+!-<>I<0'<'C!'<'2C-:+&
35
R)U+<-<B+1.0)'1#<7T<:<CU!C&
36
Arkhé;<0'<0+20'<0'.)/-<-.F1'+(cU),+;<.'*)!'<!-*Y)M2<-<archivo.
126 KATATAY Rotaciones
E(< )2),)+< :< '(< X2-(< 0'< 'C!-< Y)+U.-eK-< C'< -,+"(-2< :< ".+"+2'2< ,)'.!-< 0)2G*),-< ,).,1(-.<
F1';< C)2< '*Y-.U+;< ".+:',!-&< R)< (+C< ,+*)'2N+C< C+2< )*"+.!-2!'C< "-.-< Q-(('J+;< "1'C< C-Y'<
F1'<!)'20'2<12<-.,+<-<(+<F1'</'20.G<=0'<- K<'(<!K!1(+<0'(<".)*'.<-"-.!-0+<0'<'C!'<'2C-:+A;<
C1< .',1"'.-,)c2< :< 12< ,+.!'< )*"1'C!+< =(-C< e.+2!'.-C< 0'(< +YJ'!+< ()Y.+A< ,)'..-2< '(< -.,+&< h+<
+YC!-2!';< 'C!-< Y)+U.-eK-< F1'< '2< C1< X2-(< .'U.'C-< -(< ".)2,)")+< 0'< 0+20'< C'< "-.!)c< '2< 12<
U'C!+< F1'< "-.','< -"'(-.< -(< e.-,-C+< 0'< (-< '*".'C-< 'C,.)!1.-.)-;< .'0120-< '2< -"'.!1.-C;<
"1'C< -< (+< (-.U+< 0'< C1< 0'C-..+((+< Q-(('J+< !)'20'< )(+C< F1';< ,+*+< '(< e.-,-C+;< )2C!-(-2< (-<
suspensión< =(+< F1'< C)'*".'< 'C"'.-< ,1*"()*)'2!+A&< P+.< 12< (-0+;< (-< K20+('< 0)(-!-0-< 0'< (-<
'C,.)!1.-<"-.','<.'F1'.).<0'(<,+.!'<*-!'.)-(<,+*+<*',-2)C*+<()*)!-2!'&<EC<0',).;<El cuervo
blanco;< "+.< '(< *+0+< ,+*+< C'< +.U-2)N-< :< "+.< 'C'< efecto-archivo< F1'< ".+"+2';< !+('.-.K-<
12<C'U1).</'.!)'20+<*GC&<P+.<+!.+;<(+C</-,K+C<F1';<"+.<'J'*"(+<(+C<W2+<CM^<-Y.'2;<(-<0-!-<
incompleta expresada a través de interrogantes sin responder, las elucubraciones sobre
e.-C'C<:<"-(-Y.-C<0'<(-C<e1'2!'C<,)!-0-C;<+!.+C<e.-,-C+C<W,+2e'C-0+C^<"+.<'(<Y)cU.-e+p87,
C)<.-CU-2<(-C<,+*"1'.!-C<0'<(-<".+01,!)/)0-0<'2<*-., -;<0'J-2<C'2!-0-;<'2<C1<!.-2C,1..).;<
(-< )*"+C)Y)()0-0< 0'< ,+*"('!-.< (-< Y)+U.-eK-&< =Mutatis mutandis;< (-< /+(12!-0< :< '(< 0'C'+< 0'<
Cuervo vuelven a resonar tensionados por la imposibilidad, también confesa, de completar
(-<!-.'-;<".)*'.+<"+.<C1<0)*'2C)c2;<0'C"1MC<"+.F1'<+!.-C<+C,1.)0-0'C<C'<('<)*"+2'2<i(-<
"M.0)0-<0'<(-<C-(10;<(-<*1'.!'iA&<n'C0'<Q-(('J+<")'2C+<'2<(-<'C,.)!1.-<,+*+<,+2!)21)0-0<
)2X2)!-;<+<'2<'(<e+.*-!+<()Y.+<=M(<*)C*+<C1'('<0'X2).<C1C<2-..-!)/-C<,+*+<W()Y.+C^<01.-2!'<
,-0-< 'e',!1-,)c2A;< -".+")-0+< "-.-< ,+2!'2'.< 'j!'2C)+2'C< -.Y+.'C,'2!'C< :< -,1*1(-!)/-C<
,+*+<MC!-;<'C<0',).;<12-<,+*"1(C)c2<!+!-()N-2!'<+<*+!+.<0'<C1C<YkCF1'0-C<0+20'<".+,1.-<
)2,(1).< (+< *GC< "+C)Y('&<s< *'< "-.','< F1'< (-< 'j".'C)c2< 0'< (-< falta no solo implica ciertos
0-!+C< 0'< 'C!-< Y)+U.-eK-< +< -(< e-2!-C*-< F1'< -< C)0+< '(< ".'5!'j!+m< .''2/K-;< -0'*GC;< -< la
preocupación por el lenguaje en uso< :< -< (+< )2 '.'2!'< -< (-< 'C,.)!1.-#< (-< )*"+C)Y)()0-0< 0'<
apresar86<+<".+01,).<12-<C)U2)X,-,)c2<".'!'20)0-&<
D-<k(!)*-<,)!-;<(-<*'2,)c2<0'<O+(+*Y)-<:<*)<-(1C)c2<-(<('2U1-J'<C+2<+"'.-0+.-C<"-.-<
.'!+*-.<-(U12-C<,1'C!)+2'C#<'C!-<Y)+U.-eK-;<F1'<'*")'N-<:<!'.*)2-<,+2<(-<)2C,.)",)c2<0'(<
C)U2+<F1'<!#*$'/$G'<-(<*1'.!+<,+*+<!-(;<'C<12<12)/'.C+;<C'Uk2<-2!),)"M;<"+.F1'<-<!.-/MC<0'<
O1'./+<.'U.'C-2<*1, +C<*1'.!+C<F1'<,+2e+.*-2<12<,-*"+<)2!'(',!1-(<'j"-20)0+<,+*+<
'C!'<!'j!+&<EC<12<,-*"+<F1'<C)<,+*".+*'!'<210+C<*1:<,'.,-2+C;< -,'<'C!-((-.<,1-(F1)'.<
)0'-<.'C!.),!)/-<+<-,+!-0-<=-<12<U.1"+;<12-<,)10-0;<12<"-KC;<12-<.'U)c2A&<E(< '.*-2+<}2U'(<
'C<'(<".)*'.< )!+<='C<,+2+,)0-<(-<)*"+.!-2,)-<F1'<(+C< '.*-2+C<-..-C!.-2<'2<(-C<2-..-!)/-C<
0'<Q-(('J+8IAm<'C<C1<,+*"-\'.+<0'<.1!-<'2<(-</)0-<:<0'<1Y),-,)c2<'2<'(<,'*'2!'.)+;<-<F1)'2<
C'< ('< +,1..)c< -Y.).< 12-< eGY.),-< 0'< ,'./'N-< F1'< (+C< /+(/)c< .),+C< :< ,+2< F1)'2< d1X2+< Z+CM<
'C,.)Y)c< (-< Y)+U.-eK-< 0'(< ".+")+< "-0.';< F1)'2< e1'< /),'".'C)0'2!'< 0'< O+(+*Y)-&< n'C"1MC<
C1.U'2< +!.+C< -e',!+C< =(-< ,.)-0-;< ,+('U-C< /)C!+C< 12-< /'N< +< 2)2U12-< '2< (-< /)0-;< "'C'< -< (-<
-Y120-2,)-<'")C!+(-.Am<(+C<'0)!+.'C<=XU1.-C<*GC<:<*'2+C<,+*"('J-CAm<(+C<0'10+.'C<=R)(/-<:<
muchos otros pues los Cuervo eran no solo ricos, sino generosos, parece, con individuos
'<)2C!)!1,)+2'CAm<(+C<-*)U+C<F1'<0'J-.+2<0'<C'.(+;<,+*+<O-.+<=(-<"-(-Y.-<'2'*)U+<.'C1(!-<
fuerte respecto de este Cuervo). En realidad se trata a cada paso, a partir de cada fuente,
0'<,)'.!+C<-e-2'C<'2(-N-0+C#<.',+2C!.1).<.'0'C<C)!1-,)+2-('C<F1'<)*"(),-.+2<'(<!.-2C,1.C+<
0'<12-</)0-;<-CK<,+*+<'2e-!)N-.<(-<)2C'.,)c2<0'<12-<C1YJ'!)/)0-0<'2<0), -C<.'0'C;<C)2<(-C<
,1-('C<2+<C'.K-<!-(;<(+<F1'<.'*)!';<de nuevo;<-<(-<Y-C'<()2UlKC!),-<:<-<(-<.'(-,)c2<e120-,)+2-(<
0'<(-<,+*12),-,)c2<=:+$!kA<".+"1'C!-;<,+*+<C'</';<'2<0)/'.C+C<"(-2+C&<<<<<<
D-<"-!.)-;<'(<('J-2+<"-KC;<-"-.','<:<.'-"-.','<'2<'C!-<Y)+U.-eK-;<,+*+<-"-.','<Colombia
'2<(-<2-..-!)/-<0'<12<Q-(('J+<F1';<C'Uk2<0),';<!-*Y)M2<W,-.U-^<,+2<'((-<=:<(-<(K2'-<C1,'C+.)-<
Y)cU.-e+5Y)+U.-X-0+<C'<)2C,.)Y'<'2<'(<"'C+<F1'<-..-C!.-<+!.+<U.-2<('U-0+<,+*".'20)0+<'2<
'(<2+*Y.'A&<Q-('<(-<"'2-<-,(-.-.<F1'<12-<e-,'!-<0'<(+C<O1'./+;<0'C,+2+,)0-<"-.-<*1, +C;<
87
< W3)< U.-2< e.-,-C+< '2< 'C!-< )2/'C!)U-,)c2< 0'< (-< /)0-< 0'< 0+2< d1X2+< 'C< (+< "+,+< F1'< '< (+U.-0+< C-Y'.< 0'< C1< ,.)-0-&<4"-.!'< 0'(<
2+*Y.';< 0'< F1'< -YK-< 2-,)0+< '2< B+201'C< :< 0'< F1'< '.-< +2.-0-< :< ,+2C-U.-0-< -< M(< :< -< C1< '.*-2+;< C'Uk2< 0),'2< (+C< 0+C<
!'C!-*'2!+C;<*1:<"+,-<,+C-&<zR'.K-<*-:+.<F1'<0+2<d1X2+|<zs<F1'<}2U'(|<zE2!.-.K-<-<!.-Y-J-.<,+2<(+C<0+C< '.*-2+C<"+.<(-C<
e', -C<F1'<C'<)2C!-(-.+2<'2<P-.KC;<'2<'(<-"-.!-*'2!+<0'<(-<d1'<3')CC+2)'.|^<=>?@>#<8_758_6A&<
86
<D+C<1C+C<-".'C-.<:<-U-..-.;<,)!-0+C<'2<'C!'<0'C-..+((+<'2<e.-U*'2!+C<0'<Q-(('J+<.'C"',!+<0'(<('2U1-J'<'2<1C+<:<0'<(+C<e-2!-C*-C<
.'C"',!)/-*'2!';<0)-(+U-2<,+2<C1C<!'j!+C<'2!'20)0+C<,+*+<YkCF1'0-C<0'C!)2-0-C<-<12<e.-,-C+<F1'<M(<*)C*+<C1'('<,+2e'C-.&<<D-<
.'e'.'2,)-<X2-(<-<B-.Y-<Z-,+Y<,)!-0-<'C<.'/'(-0+.-<=W'C< 1*+^A&
8I<
D-< 'j"(+.-,)c2< 0'< 'C!-< ,+2C!-2!'< 'j,'0'< (+C< (K*)!'C< 0'< 'C!'< '2C-:+&< B-C!'< 0',).< F1'< El desbarrancadero< :< Mi hermano el
alcalde<C+2<0+C<.'(-!+C<'J'*"(-.'C<.'C"',!+<0'<(-<*)C*-&
EL CUERVO BLANCO DE FERNANDO VALLEJO @>7
'.-<C1<,+2'j)c2<,+2<O+(+*Y)-<:<C1C<".+,'C+C<"+(K!),+C<0'C0'<(-<0)C!-2,)-;<-(<)U1-(< F1'<
Q-(('J+&<P'.+<+Y/)-0-C<(-C<)221*'.-Y('C<.'e'.'2,)-C<-<'C!-C<,1'C!)+2'C;<'(<idioma amado
Y.)((-< ,+*+< (-< W"-!.)-^< F1'< /'.0-0'.-*'2!'< (+C< 12';< 12-< e.-C'< C-!1.-0-< 0'< +201.-&< EC<
(-< W"-!.)-^< F1'< ,1'2!-< *1, +< *GC< 0'< *)(< -\+C;< 12+< 0'< (+C< 0+C< "+0'.+C+C< ,'2!.+C< 0'<
C)*Y+()N-,)c2<:< +*+U'2')N-,)c2<F1'<Q-(('J+<-C'0)-<'2<C1C<!'j!+C<i(-<.'()U)c2<'C<'(<+!.+i;<
los cuales determinaron nuestra formación cultural.
D-<('2U1-<'2,-0'2-0-<-<(-<2-,)c2<*+0'.2-<:<(-<!'2C)c2<"-!.)-52-,)c2<+Y()U-2<-<-(Uk2<
Y.'/'<,+*'2!-.)+<F1'<2+C<.'U.'C-<-<'J'C<0'<(-<*+0'.2)0-0<:<-<(+C<".+/+,-0+.'C<U'C!+C<0'<
Q-(('J+&<D-<,+2,'",)c2<0'<(-<('2U1-<,+*+<,+*"-\'.-<0'(<)*"'.)+;<(-<+YC'C)c2<0'<h'Y.)J-<"+.<
generar una Gramática<=12-<+.!+"'0)-A<F1'<e1'.-;<'2!.'<*1, +;<W,-C-<0+20'<*+.-.^<"-.-<
W"'.'U.)2-C^<('2U1-C<=(-C<2-!)/-C<"+.<'J'*"(+A;<12-<U.-*G!),-<0'<(-<F1';<C'Uk2<Q-(('J+<=STA;<
W2-0)'<i2)<='(<*)C*+A<h'Y.)J-;<2)<R-(/G<2)<B'((+i;< -<!'2)0+<12<C'2!)0+<*GC<X2+^<F1'<O1'./+;<
permite actualizar la noción de principio ,+*+<+.0'2<,+2C!.1)0+&<B'((+;<'2<(-<(K2'-<0'<h'Y.)J-;<
'C<(-<".)*'.-<XU1.-<!1!'(-.<.'C"',!+<0'<(-<,+2C+()0-,)c2<0'<12-<+.!+"'0)-<=".)2,)")+A<"-.-<(-C<
21'/-C<2-,)+2'C<0'<4*M.),-;<)*"1(C-0+;<-0'*GC;<"+.<12-<i*+0'.2-i<,+2,)'2,)-< )C!c.),-;<
-.!+<'j".'C-0-<:<"1'C!-<'2<".G,!),-&<n), -<,+2C!.1,,)c2<'C<-C'0)-0-<"+.<O1'./+<0'<*+0+<
ampliado, a partir no solo de sus Notas a la Gramática de Bello, sino de su profundización
)2Cc()!-;< '(< W0),,)+2-.)+5U.-*G!),-^&< 4CK< .'-X.*-< 'C-C< /+(12!-0'C< '2< -.-C< 0'< e+.!-(','.<
*',-2)C*+C<0'<,+ '.'2,)-<:<,+ 'C)c2<F1'<0'*-20-<(-<2-,)c2<'2<!-2!+<W*+.e+(+UK-^;<'C-<
W)0'-^;<W)*-U'2^<:<W-C").-,)c2<-(<*)C*+<!)'*"+^<=B-', ('.<@II7#<@TA;<0)C'\-0-<'2<'C,.)!+C<0'<
".)2,)")+C<0'(<wVw<"+.<2','C)0-0<:<0'C'+<0'<(+C<('!.-0+C<-*'.),-2+C&<n), +<-.!'e-,!+<.'C1(!-<
'(<'C,'2-.)+<".+U.-*G!),+<0'<(-<'*".'C-<0'<O1'./+<=(-<('2U1-<'C<(-<,+*"-\'.-<0'<(-<2-,)c2<
:<'(<-!.)Y1!+<0'<(-<2-,)+2-()0-0A&<Q-('<(-<"'2-<(''.<12<e.-U*'2!+<,+*"('!+<0'(<Y)+U.-X-0+#
P+.<-F1K<C'</'<F1';<!.-!G20+C'<0'<12-<nación<,1(!-<:<"+C''0+.-<0'<12-<()!'.-!1.-;<(-<
('2U1-;<,+2<C1C<".)2,)")+C<e+2M!),+C<:<*+.e+(cU),+C;<,+2<C1<C)2!-j)C<:<C'*-C)+(+UK-<
peculiares, es atributo propio de la nacionalidad;< :< C1"'.)+.< "+.< ,+2C)U1)'2!'< -(<
)20)/)01+;< F1)'2;< "+.< 0'C,1)0+< k< +Y'0',)'20+< -< ".)2,)")+C< e-(C+C;< "1'0'< ,-'.< '2<
'..+.m<:<,+2<(-<-1!+.)0-0<0'<(-<('2U1-<*)C*-;<en cuanto se haya estudiado de raíz
en todas las manifestaciones de su desenvolvimiento histórico, no sólo es lícito sino
e+.N+C+<0'C-".+Y-.<!+0-<".G,!),-<F1'<.+*"-<,+2<(-C<(':'C<F1'<.)U'2<C1<'C!.1,!1.-<
=Diccionario#<wwwQVVV&<R1Y.-:-0+C<*K+CA&
!"#$%&!'"()!"*+,-!./%$
blanco<(+<C'U1.+<'C<'(<!.)12e+<0'<(-<0)C,+2!)21)0-0;<:<'2!+2,'C;<(-<"+C)Y)()0-0<)2-,-Y-0-<0'<
(',!1.-C;<0'<0'()2'-.<C)C!'*-C<0'<.'e'.'2,)-;<0'<'j"-20).<(-<*).-0-< -,)-<(+<*k(!)"('<=c.0'2'C;<
"(-2+C;<C'.)'CA&<P+.<C1<0'C-..+((+<'2!.c"),+<:<C1<-"'(-,)c2<-<(-<2'U-!)/)0-0<'C!-<Y)+U.-eK-<2+<
.'".'C'2!-<:;<C)*1(!G2'-*'2!';<2+<C'<.'-X.*-<,+*+<.'U)C!.+<0)C,1.C)/+<'2!'20)0+<0'<*+0+<
,+2/'2,)+2-(#<'2<,+2!.-.)+;<(+<-0+"!-<"-.-<,+2!.-0',).(+;<"-.-<0'C5+.0'2-.(+&<<
3'< -".'C1.+< -< -*"()-.#< Q-(('J+< ,+2+,'< Y)'2< '(< *',-2)C*+< '2!.c"),+< '2< '(< C'2!)0+< 0'<
“v1).< 0'(< 0'C+.0'2^40< =(+< F1'< "'.!1.Y-< '(< ,c0)U+;< ,1-(F1)'.-< C'-;< -(U+< F1'< F1)NGC< -Y.K-<
complicado a Cuervo). Asimismo, como gran posibilidad de la narración o puesta en
'C,'2-<0'<12<".+Y('*-<,'2!.-(<0'C0'<h)'!NC, ';<(-<.'(-,)c2<'2)U*G!),-<'2!.'<W('2U1-J'C^<
:< W/'.0-0^;< ".',)C-*'2!'< '(< ".+Y('*-< F1'< -!.-/)'C-< ,1-(F1)'.< Y)+U.-eK-< C)< C'< (-< '2!)'20'<
una historia de vida. De ahí ese regodeo en mostrar la propia productividad exacerbando la
fragilidad representativa de la escritura: es la manera de acercar, pero también de descubrir
(-<)2,'.!)01*Y.'<+<(-<0'C,+2X-2N-;<F1'<C)<C'<'j".'C-2<-</','C<.'C"',!+<0'<(+C<*-!'.)-('C<
de archivo o de los datos, empiezan antes respecto del lenguaje en uso<=(-<".'+,1"-,)c2<:<
+,1"-,)c2<,'2!.-(<0'(<Y)+U.-X-0+A&<EC<(-<*-2'.-;<'2!+2,'C;<0'<C1C"'20'.<2+,)+2'C<,+*+<
W/'.0-0^<+<W*'2!).-^&<O)'.!-C<,+2C)0'.-,)+2'C<0'<P-1(<0'<3-2<C+Y.'<(-<-1!+Y)+U.-eK-<"+0.K-2<
!.-2Ce'.).C'<-<'C!-<Y)+U.-eK-#<0'C0'<*)<"12!+<0'</)C!-;<'C<12-<X,,)c2<F1'<0'C210-<'(<e.-,-C+<
0'< (-< )(1C)c2< .'e'.'2,)-(;< "+.< '((+< -F1K< )*"+.!-< !-2!+< (+< F1'< C'< 'C,.)Y'< C+Y.'< O1'./+< =F1'<
'C<*1, +A<,+*+<(-<*-2'.-<0'<'C,.)Y).(+;<F1'<'C<C1C!-2,)-(m<:<(-<,.)C!-()N-,)c2<.-0),-.K-<'2<
(+U.-.< 12-< ,+2XU1.-,)c2< ,1:-< 0'2C)0-0< ,+2!.)Y1:'< -< .'C!-1.-.< .'!c.),-*'2!'< -< 12< C1J'!+<
,+*+<"+C!1(-,)c2&<f-*Y)M2<C'\-(-<0'<3-2<=@II@#<@@SA#<Wh+<"+0'*+C<C'"-.-.<.-0),-(*'2!'<
/)0-<:<+Y.-;<"'.+<!-*"+,+<"+0'*+C<'j"(),-.<12-<"+.<*'0)+<0'<(-<+!.-;<C)2+<F1'<!'2'*+C<
F1'<!.-2C)!-.<"+.<'C'</-)/M2<+<Y+.0'<"-.-0cJ),+^<=(+<F1'<0'C"+C''<:<0'CXU1.-<-<(-<"-.<F1'<
.'C!-1.-A&<3'<"-.','<F1'<Q-(('J+<,1*"('<,+2<,+*+0)0-0<'C!-<".+Y('*G!),-<)20),-,)c2&
WE(<U'2'-(+U)C!-<!)'2'<(-<2','C)0-0<0'<(-< )C!+.)-<"-.-<,+2J1.-.<(-<F1)*'.-<0'(<+.)U'2^;<
C'2!'2,)-<a+1,-1(!<=@II7#<>8A&<P'.+<'2<'C!'<,-C+<(-<'C,.)!1.-;<"+.<C'.<(-<eu-topía<='(<*'J+.<
(1U-.A;<'2<C1<*-!'.)-()0-0;<'2<C1<0'C"()'U1'<:<.'"()'U1';<0)C1'(/'<,'.!)01*Y.'C;<'2!.'<'((-C<
(-<)0'-<0'<".+U.'C+<=0'<.'-()N-,)c2A<'2<'(<C'2!)0+<0'<WC-Y'.^<+<0'<W!)'*"+^<C1J'!+C<-<".)2,)")+<
:< X2&< E2!+2,'C< '(< kairos se apropia del chronos< =X,,)c2< .'U1(-0+.-< 0'< !)'*"+< :< Y-20'.-<
del historicismoA<:<C1.U'<+!.-</'N<'(<0'C5+.0'2<=,+*+<)2/'.C)c2<0'(<+.0'2A#<'C!-<Y)+U.-eK-<
propone una integración temporal donde el presente de la escritura puesta en escena se
,-.U-<0'<"-C-0+<:<0'<e1!1.+&41<P+.<'C!+;<C)<Q-(('J+< -<-C").-0+<-<)2C,.)Y).C'<'2<(-<!.-0),)c2<0'<
(+C<U.-20'C<U.-*G!),+C5X(c(+U+C5()2Ul)C!-C;<!-*Y)M2<C'<)2C'.!-<'2<(-<e-*)()-<0'<(+C<*'J+.'C<
2-..-0+.'C;< F1)'2'C< Y.'U-.+2< "+.< (-< +.)U)2-()0-0< 0'< (-< +.U-2)N-,)c2;< (-< )*".'/)C)Y)()0-0<
i.'C"',!+< 0'< 12< C)C!'*-< 0'< ".+Y-Y)()0-0'Ci< :< (-< -*Y)Ul'0-0< ,+*+< 0'!'.*)2-2!'C< 0'(<
-1*'2!+<0'<)2e+.*-,)c2<=:<")'2C+<'2<(-<,-.U-<0'<)2e+.*-,)c2<-C+,)-0-<-(<desorden según
E,+;< 12< +.0'2< 0)C!)2!+< F1'< C'< -(N-< -2!'< (+< -Y)!1-(< +< ".'/)C)Y('m< +< '2< (-< )2,+2,(1C)c2< F1'<
".+"),)-<'(<-2C)-<)2!'.".'!-!)/-<:<'C<C'*)(('.+<0'<*GC;<,+2!)21-<".+01,,)c2<0'<C)U2)X,-,)c2A&<
P+.<0-.C'<'(<kairos como integración, en este caso la noción de temporalidad se impone a la
de historicidad<=(+<)2 '.'2!'<-(<.'U)C!.+<Y)+U.GX,+A;<:<'2!+2,'C;<(-<C'*G2!),-<C'<-"+0'.-<0'<
(-<C)25!-j)C<=,+2<+.0'2A&<P+.<0), -C<.-N+2'C;<El cuervo blanco es una biografía respetuosa
0'< (+< F1'< (-< '!)*+(+UK-< 0'< (-< "-(-Y.-< *-20-< '2< C1C< .-K,'C< U.)'U-C< :< C1C< ,+*"+2'2!'C<
léxicos,42<'C<0',).;<(-<-,,)c2<0'<'C,.)Y).<12-</)0-;<:<-U.'U+;<(-<'C,.)!1.-<0'<12-<YkCF1'0-<=(+<
'<.'"'!)0+A<F1'<C'<-X.*-<,+*+<!-(&<n'C0'<'((+<'C<,(-.+<'(<F1'Y.-2!+<0'<(-<episteme fundada
'2<(+<F1'<9&<4.'20!<0'2+*)2-<W'(< )(+<0'<(-<,+2!)21)0-0< )C!c.),-^<F1';<0'<*+0+<)22'U-Y(';<
-C)U2-<12-<-1!+.)0-0<-<(-<9)C!+.)-;43 esa maestra vuelta una necesidad para los modernos.
40
<E,+<,+2C)0'.-<(-<'2!.+"K-<.'C"',!+<0'<(-<)2e+.*-,)c2<:<(-<,+*12),-,)c2&<P-.-<(-<'2!.+"K-<()!'.-.)-<:<(-<2-..-,)c2<'2<"-.!),1(-.<
-2<C)0+<k!)('C<(-C<)0'-C<0'<R&<O 'Je',;<0'<F1)'2<!+*+<'C!-<'j".'C)c2&<<
41
<O-.(+C<a1'2!'C;<-"+:-0+<'2<Q&<u++(e;< -Y(c<0'<(-<!.-0),)c2<,+*+<(+<F1'<,+*"'('<-<'C,.)Y).<2+<Cc(+<,+2<(-<".+")-<U'2'.-,)c2<'2<
(+C< 1'C+C;<C)2+<,+2<12<C'2!)*)'2!+<0'<F1'<(-<!+!-()0-0<0'<(-<()!'.-!1.-<0'C0'<9+*'.+<"+C''<12-<'j)C!'2,)-<C)*1(!G2'-<:<,+*"+2'<
12<+.0'2<C)*1(!G2'+&<EC<'(<U'C!+<0'<Q-(('J+&
42
De Bios =/)0-A<5<graphein<='C,.)Y).A5<ia<=-,,)c2;<,1-()0-0A&
43
O)!-0+<"+.<H'.*+0'<=@I68#<_@A&<EC!-<C1C!)!1,)c2<X,!),)-<0'<(-<-1!+.)0-0<:<(-<!.-0),)c2<"+.<(-<9)C!+.)-<'C<12<,'2!.+<0'<(-<.'/+(1,)c2<
)2!'(',!1-(< 0'< `,,)0'2!'< "+.< (-< ,1-(< :< '2!.'< +!.+C< *1, +C< -!.)Y1!+C;< C'< ".+01,'< '(< C1.U)*)'2!+< 0'< 12-< 0'!'.*)2-0-< e+.*-<
*+0'.2-<0'<,+2,)'2,)-< )C!c.),-<='(< )C!+.),)C*+A&<O+*+< -<C)0+<C'\-(-0+<0'C0'<0)/'.C-C<"'.C"',!)/-C<!'c.),-C;<,+2<(-<,.',)'2!'<
C',1(-.)N-,)c2<0'(<C&<wQVVV<C'<-X-2N-<12<,-*Y)+<0'</)C)c2#<(-<V(1C!.-,)c2<-C1*'<12<"-"'(<0',)C)/+<'2<(-<.'0'X2),)c2<0'<12<,+2,'"!+<
0'<(+< )C!c.),+<'2<'(<,1-(<'(< +*Y.'<'C<'(<U.-2<".+!-U+2)C!-;<12< +*Y.'<,+*+<)20)/)01+<='2<<()Y'.!-0<:<,+2</+(12!-0A<F1'<'*")'N-<
-< '2,+2!.-.< ,+ '.'2,)-< '2< (-< )*-U'2< *'2!-(< = )C!c.),-A< 0'< CK< *)C*+< :< 0'< +!.+C< )20)/)01+C< =2+< '2< /-2+< P(1!-.,+< :< C1C< Vidas
paralelas,<(-C<0'< +*Y.'C<F1'<hicieron la historia, son revisitados por los pensadores de la Revolución francesa).
@>I
EL CUERVO BLANCO DE FERNANDO VALLEJO
E2<.'-()0-0;<(-<'(',,)c2<0'<O1'./+<,+*+<Y)+U.-X-0+<:<'(<.'U)C!.+<-C1*)0+<"-.-<*+(0'-.(+<
"1'0'2< (('/-.< -< ".)*'.-C< )2!'.".'!-,)+2'C< 'F1K/+,-C< +< -".'C1.-0-C#< C1< excentricidad
=12-<"-(-Y.-<F1'<-!.-'<-<Q-(('J+A<2+<.-0),c<'2<(-<,+2!.-/'2,)c2<=C+2<(+C<,-C+C<0'<B-.Y-<
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ante una primera lectura de la frase, poseer la llave de un secreto más o menos negociable,
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ggggggg< =>?@TA&< WE(< ,1(!+< 0'< (-< /)+('2,)-< '*")'N-< "+.< '(< ('2U1-J'^;< Literatura y violencia en la
narrativa latinoamericana reciente, Colección Colectivo crítico< =f'.'C-< B-C)('< ,++.0&A;< bhDP&<
Disponible en: http://www.libros.fahce.unlp.edu.ar/index.php/libros
ggggggg<=>?@>A&<WE2!.'<U.-*G!),-C;<*-21-('C;<!.-!-0+C<:<Y)+U.-eK-Cp<a'.2-20+<Q-(('J+^;<Actas IV
Congreso CELEHIS de Literatura. Disponible en: http://www.mdp.edu.ar/humanidades/letras/
celehis/congreso/2011/actas/ponencias/marinone.htm
ggggggg<=>?@@A&<Wa'.2-20+<Q-(('J+<:<'(<-., )/+<)(1C!.-0+^;<Voz y escritura,<@I#<@85>T&<<
ggggggg<=>?@>A&<WD-<Y)+U.-eK-<0'C0'<(-<U.-*G!),-<)2Cc()!-^<=R+Y.'<El cuervo blanco, de Fernando
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de las últimas décadas,<3-.<0'(<P(-!-#<EbnE3&
Q-(('J+;<a'.2-20+<=@I68A&<Logoi, México, FCE.
ggggggg<=>??8A&<El mensajero, Colombia, Alfaguara.
ggggggg<=>?@>A&<El cuervo blanco, Argentina, Alfaguara.
ggggggg<=>?@8A&<Peroratas, Argentina, Alfaguara.
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una persona real, más allá de reducir su obra a un momento particular de la historia de su
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exigir distinción. Inclinar la balanza hacia las exigencias referenciales o hacia el engaño
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El río del tiempo, La rambla paralela : El desbarrancadero se inscriben en el género
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sus propios mecanismos en detrimento de la capacidad organizadora de la memoria. En la
LA ESCRITURA DEL UMBRAL. EL RECORDAR MELANCÓLICO DE FERNANDO VALLEJO 133
()!'.-!1.-<0'<Q-(('J+;<'(<.',1'.0+</)'2'<-<)2!'..1*").;<0'C+.0'2-.;<0'C,+(+,-.<!+0+<-F1'((+<
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sobre la propia vida.
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la linealidad temporal siga intacta. Cuando recordamos, no recordamos los hechos tal
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F1'<F1'..K-*+C<C'.&<D-<nachträglich freudiana, recuperada luego por Lacan con la noción
de après coup, implica siempre esta idea de posterioridad, pero simultáneamente la de
'e',!+<.'!-.0-0+;<0)e'.)0+;<-<0'C!)'*"+;<J1C!-*'2!'<"+.F1'<(-<2+,)c2<0'<)2,+2C,)'2!'<0'<
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En el recuerdo, el pasado es inmediatamente futuro anterior. Es decir, en el recuerdo la
conciencia llega tarde, asiste como un espectador sorprendida por esa aparición. Cuando
(('U-< -< "-C-.;< 2+C< C+.".'20'< "+.F1'< '2< .'-()0-0< (+< +(/)0-*+C< *)'2!.-C< +,1..K-&< O-0-<
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i0),'<Q-(('J+i<W -YK-</)/)0+<"-.-</)/).m<'2<-0'(-2!'<,.'+<F1'< '</)/)0+<"-.-<.',+.0-.<=S@A^&<
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.',1'.0+<='2<!M.*)2+C<0'..)0)-2+CA<'C<0)e'.)0-<,+2<(-<-:10-<0'<(-<.'"'!),)c2&<D-<.'"'!),)c2<
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indeterminadas. De allí, el efecto diferido. El pasado siempre está pasando. Dice Giordano
en una nota al pie de La contraseña de los solitarios, '2<.'e'.'2,)-<-(<0)-.)+<0'<Q).U)2)-<u++(e#
b2+<212,-<,+*".'20'<12-<'*+,)c2<'2<C1<*+*'2!+;<:<,1-20+<(('U-<'(<*+*'2!+<
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134 KATATAY Rotaciones
b2<"-C-0+<F1'<C)'*".'<'C!G<'2<!.-2,'<0'<-0/'2).<"+.F1'<'(<C1J'!+<J-*GC<'C!G<-((K<0+20'<
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recuerdos, la lengua del melancólico se permite remover el pasado en busca de los más
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no le permite renunciar a ese fantasma.
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2
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LA ESCRITURA DEL UMBRAL. EL RECORDAR MELANCÓLICO DE FERNANDO VALLEJO 135
,+2C!.1,!)/-<0'<(-<*'*+.)-<:<".+"+2'<'2<'(<-,!+<0'<.',+.0-.<'(<,-.G,!'.<)*-U)2-.)+<F1'<
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estético iel de la melancolíai para poder dar cuenta del carácter ético icomo posibilidad
de vidai de su propuesta narrativa.
Tal como el après coup lacaniano, la memoria del melancólico trae las cosas a la
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adelantado:
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0'<(-<F1'<C'< -,'<,-.U+<4U-*Y'2<'2<Estancias. Es decir, la realidad de lo perdido deviene
e-2!-C*-Uc.),-<"+.F1'<C'<'C!-Y(','<12<,+2v),!+<'2!.'<(-<"'.,'",)c2<0'<(-<.'-()0-0;<F1'<(+<
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C'<.'(-!-<12-</)0-<2+<C'<!)'2'<,+2!.+(<C+Y.'<!+0+<-F1'((+<F1'<C1,'0)c<'2<12<"-C-0+#< -:<
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-0'2!.+<:<'(<-e1'.-<0'<C1<".+")+<e1'.+<K2!)*+&<P-.',)'.-<F1'<'(<'C"-,)+<,+*+<'(<!)'*"+<'2<
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umbrales. El corredor delantero representa lo inmóvil, una simple pausa, la suspensión
0'(<!)'*"+<F1'<('<"'.*)!'</+(/'.<-<'j"'.)*'2!-.<(-<'C,)C)c2<'2!.'<(+<'!'.2+<:<(+<!'*"+.-(#<
3
<O1-20+< -Y(+<0'<*'(-2,+(K-<2+<*'<.'X'.+<-<(-<2+,)c2<e.'10)-2-<F1'<-C'U1.-<F1'<'(<*'(-2,c(),+<2+<"1'0'<.'-()N-.<'(<'F1)()Y.)+<
C-(10-Y('<F1'<".+"+2'<'(<".+,'C+<0'(<01'(+&<P.'X'.+<"'2C-.<(-<*'(-2,+(K-;<,+*+<(+< -,'<Z1-2<d)!/+<'2<Decadentismo y melan-
colía,<"+.F1'<-((K<'j"(),-<'(<*+/)*)'2!+<C)*1(!G2'+<:<,+2!.-0),!+.)+<"+.<'(<,1-(<Q-(('J+<,1'2!-;<"+.<*+*'2!+C;<(+C<'")C+0)+C<*GC<
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0'<-<.-!+C;<:<C+.".'20'<,+2<'(<-..'Y-!+m<F1'<"-C-<0'(<((-2!+<-<(-<Y1.(-<'2<12<*)C*+<"G..-e+&<D-<*'(-2,+(K-<2+<0'Y'<,+2e120).C'<
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unas sobre otras. El melancólico está habitado por la pasión de la ambigüedad, se pasa de uno a otro extremo sin intermedio.
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136 KATATAY Rotaciones
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0'<a'.2-20+<Q-(('J+^;<'2<Actas del III Congreso Internacional Cuestiones Críticas. Disponible en: www.celarg.org.
LA ESCRITURA DEL UMBRAL. EL RECORDAR MELANCÓLICO DE FERNANDO VALLEJO @87
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presencia de lo ausente.
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W -,'<-,!+<0'<(-<-1C'2,)-<'2<'(<+.)U'2^<=B-C, <>?@@# 7@56_A&
Q-(('J+<'C,.)Y'<0'C0'<(-C<.1)2-C<0'<(+C<0K-C<-N1('C;<:<.'!+*-20+<-<O1'!+;<<,+*+<(-<*).-0-<
es intensamente melancólica, sabe vislumbrar en ese pasado, su carácter espectral, su
e+.*-<0'<'C!-.<- K<C)2<'C!-.(+&<a'.2-20+<C-Y'<F1'<C)<Y)'2<'C<)*"+C)Y('</+(/'.;<,1'2!-<,+2<
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de reconciliarnos por adelantado.
En las últimas páginas de Entre fantasmas, B.1J-<*1'.'<:;<'C<'2!+2,'C<F1'<'*'.U'2;<
como nunca antes, las ruinas del presente de la escritura. La pretensión del autobiógrafo
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'C<C)U2+<0'(<"-C+<0'(<!)'*"+;<'C<'(<1*Y.-(<'2<'(<F1'<Q-(('J+<C'<'2,1'2!.-<,+2<(-<"M.0)0-;<
'2<'(<F1'< -,'<-,!+<0'<(-<-1C'2,)-&
El mismo procedimiento se lleva a cabo en La rambla paralela, con la única diferencia
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las últimas de El desbarrancadero. En La rambla, Q-(('J+< C1'\-< ,+2< 12-< ,+2/'.C-,)c2<
!'('ec2),-< '2< (-< F1'< )*"(+.-< ,+*12),-.C'< ,+2< C1< -Y1'(-< d-F1'(< :< 12-< /+N< Y1.(+2-< ('<
recuerda la demolición, la pérdida, la muerte. Cuando se levanta del sueño, al mirarse
'2<'(<'C"'J+;<,+*".1'Y-<F1'<'C!G<*1'.!+&<n'C0'<'C'<*+*'2!+<'C-<XU1.-<'2<'(<.'(-!+<C'<
vuelve fantasmal. La rambla paralela 'C<'C'<0'/'2).<)*"'.C+2-(<0'<(-</)0-<F1'<+,1..'<'2<
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5
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torrente de la sangre. Fue fulminante. Así había pasado con el perro. Lo miré cuando
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ese mismo movimiento se rehúsa a la reconciliación. La apuesta de la melancolía es
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editora.
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P.'5!'j!+C&<
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140 KATATAY Rotaciones
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