Neophilologus Pub Date : 2020-12-22 , DOI: 10.1007/s11061-020-09666-2 Marileen La Haije
This paper analyzes “Ningún lugar sagrado” (1998) by the Guatemalan writer Rodrigo Rey Rosa as a ‘ficción paranoica’ (“La ficción paranoica”, Clarín, 10 de octubre de 1991; Blanco nocturno, Anagrama, Barcelona, 2010). I will explain that Rey Rosa’s short story does not include univocal clues to identify the protagonist as an unreliable narrator whose overinterpretations give rise to a misrepresentation of the facts. According to my reading of “Ningún lugar sagrado”, the paranoiac features of the main character contribute to the ambiguity of the text that, in fact, never explicitly confirms or discredits his persecutory ideas. Following this line of argument, I suggest that Rey Rosa’s short story narrates an “imaginario de amenaza” (“La ficción paranoica”, Clarín, 10 de octubre de 1991) that, alluding to the climate of repression, intrigues and complicities in postwar Guatemala, generates paranoia –including that of the reader. “Ningún lugar sagrado” points to a more general tendency in recent Central American literature that, from the realm of fiction, highlights the widespread nature of paranoia in the region. Unlike social discourses that discuss the topic, these literary texts make use of narrative techniques that do not necessarily respond to a referential notion of truth (including hyperboles, digressions, irony and narrative ambiguity), when constructing the voice of a paranoiac character. According to my perspective, such narrative techniques lend themselves especially to capturing the alienating dimensions of violence in Central America where paranoia, rather than being a question of truth or exaggeration, constitutes a survival strategy.
中文翻译:
罗德里戈·雷伊·罗莎(Rodrigo Rey Rosa)的“Ningúnlugar sagrado”:美洲国家艺术基金会
本文将危地马拉作家罗德里戈·雷伊·罗莎(Rodrigo Rey Rosa)的“Ningúnlugar sagrado”(1998年)分析为“ficciónparanoica”(“ Laficciónparanoica”, Clarín,1991年10月10日;Blanco nocturno,Anagrama,巴塞罗那,2010年)。我将解释雷伊·罗莎的短篇小说不包含明确的线索,以将主角确定为不可靠的叙述者,其过分解释会导致事实的错误陈述。根据我对“Ningúnlugar sagrado”的阅读,主要人物的偏执狂特征加剧了文本的含糊不清,实际上,文本从未明确证实或贬低他的迫害思想。遵循这一论点,我建议雷伊·罗莎(Rey Rosa)的短篇小说讲述一个“ imaginario de amenaza”(“ Laficciónparanoica”, Clarín,1991年10月10日),暗示了战后危地马拉的镇压,阴谋和同谋气氛,产生了妄想症,包括读者的妄想症。“Ningúnlugar sagrado”指出了中美洲最近文学中的一个更普遍的趋势,从小说的领域来看,这凸显了该地区偏执狂的普遍性质。与讨论该主题的社会话语不同,这些文学作品在构建偏执狂性格的声音时,使用了叙事技巧,这些叙事技巧不一定响应真实的指称概念(包括夸张,离题,讽刺和叙事歧义)。根据我的观点,这种叙事手法特别适合捕捉中美洲偏执狂,