No Variations (Argentinian Literature Series) by Darren Koolman Luis Chitarroni Page B
Authors: Darren Koolman Luis Chitarroni
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true conspirator not been found.” Only a few people involved with the journal are aware of the anecdote. Otherwise, more than one would have admired and followed in the steps of Remo.
All the styles are one, and one is the unquantifiable “whatness” of Agraphia : its penchant for idealism and anonymity. The reserves, which together make up this singular subjectivity—defended at all costs by Elena—comprise the list, the partial compendium of cast members of Agraphia , and descriptions of them [using pairs of adjectives] are adapted from descriptions of favorite pianists. Nicasio—or rather his style—is “tentative, proboscidal”; Luini, “dark, erratic”; Tregua, “complex, trivial”; Lester, “exuberant, introspective” … Elena herself, “tender, neurasthenic” …
In the zigzagging genealogy, Nicasio does his best to justify the sententious approach that’s characteristic of the journal (“Ysir is not visibly Ysir, not what God wants but what God is”), for it is the fulfillment of a promise, of a prophecy, a malediction: Nicasio Urlihrt is, in the twentieth century, the cryptographical, the cryptogrammatical incarnation of Hilarión Curtis: the consonants throttling the single vowel.
The number of heretics
And also, finally, the hypochondria, the ills, the diseases of Agraphia— cryptodermia, kleptolalia, cryptophasia, Elena’s migraines and tachycardia, Inés’s asthma, Belisario Tregua’s gout, dyspnea, and partial deafness, Luini’s stammer, Urlihrt’s crustaceous deafness, Zi’s prescription telescopes [28]
Family doctors. An addition?
After many years, and countless investigations, the mystery remains. What was it that was so modern about Agraphia / Alusiva ? Despite its longstanding resistance to signing and dating works (“practices to which it has become inured as one would a chronic hernia,” to quote the first manifesto), the year can often be deduced by examining the many scathing, self-indulgent references (“Early” is the best example): “if what I told you comes to pass, if the Manchurian candidate wins, I’ll either go into exile or kill myself”; “It was better back in the day,” the dernier cri of belated followers of Guyotat and Derrida; the trophies of a previous decade recovered on the beach of a future one like jetsam after a wreck: late eighties, early nineties, difficult times for the journal ( facts , deeds ) … The “actualization” of “The Imitation of an Ounce” had little to do with the story that was published under another title—“Specular Soup”—in issue number (?) [Eiralis: “I don’t remember the story having such a title”]. I think Nora Fo’s original submission was in the late sixties. But there were many changes, including the addition of a tribute to the co-author [dates: the days leading up to Inés’ death is reflected in the children’s timetable in “The Imitation of an Ounce”], so the final submission had to be in the mid-seventies.
Birthday mission
Elena Siesta:
“Sweet Fatherland, fountainhead of chía,
I have carried you away with me for Lent …”
RLV
What do we learn about the author from reading his novel Las Patrias ?
1) That he was born December 15, 1858.
2) That his death was neither by murder nor accident.
3) That he’s of Irish, Spanish, Portuguese, and Jewish descent.
4) That he fell in love with a married woman (whose name isn’t mentioned), and fearing for his life, [was forced] felt he had to go back—exile himself—to Montevideo in 1878.
5) That he never had [didn’t have] to work for a living.
6) That he began writing Las Patrias in 1914 [1904?]
7) That his father was a friend of Juan Crisóstomo Lafinur.
8) That, on various occasions and in many different cities, he met Paul Groussac, Emilio Becher, W. H. Hudson, Hilario Ascasubi, Euclides Da Cunha, Ireneo Funes, Alma-Tadema, The Prince of Faucigny
All the styles are one, and one is the unquantifiable “whatness” of Agraphia : its penchant for idealism and anonymity. The reserves, which together make up this singular subjectivity—defended at all costs by Elena—comprise the list, the partial compendium of cast members of Agraphia , and descriptions of them [using pairs of adjectives] are adapted from descriptions of favorite pianists. Nicasio—or rather his style—is “tentative, proboscidal”; Luini, “dark, erratic”; Tregua, “complex, trivial”; Lester, “exuberant, introspective” … Elena herself, “tender, neurasthenic” …
In the zigzagging genealogy, Nicasio does his best to justify the sententious approach that’s characteristic of the journal (“Ysir is not visibly Ysir, not what God wants but what God is”), for it is the fulfillment of a promise, of a prophecy, a malediction: Nicasio Urlihrt is, in the twentieth century, the cryptographical, the cryptogrammatical incarnation of Hilarión Curtis: the consonants throttling the single vowel.
The number of heretics
And also, finally, the hypochondria, the ills, the diseases of Agraphia— cryptodermia, kleptolalia, cryptophasia, Elena’s migraines and tachycardia, Inés’s asthma, Belisario Tregua’s gout, dyspnea, and partial deafness, Luini’s stammer, Urlihrt’s crustaceous deafness, Zi’s prescription telescopes [28]
Family doctors. An addition?
After many years, and countless investigations, the mystery remains. What was it that was so modern about Agraphia / Alusiva ? Despite its longstanding resistance to signing and dating works (“practices to which it has become inured as one would a chronic hernia,” to quote the first manifesto), the year can often be deduced by examining the many scathing, self-indulgent references (“Early” is the best example): “if what I told you comes to pass, if the Manchurian candidate wins, I’ll either go into exile or kill myself”; “It was better back in the day,” the dernier cri of belated followers of Guyotat and Derrida; the trophies of a previous decade recovered on the beach of a future one like jetsam after a wreck: late eighties, early nineties, difficult times for the journal ( facts , deeds ) … The “actualization” of “The Imitation of an Ounce” had little to do with the story that was published under another title—“Specular Soup”—in issue number (?) [Eiralis: “I don’t remember the story having such a title”]. I think Nora Fo’s original submission was in the late sixties. But there were many changes, including the addition of a tribute to the co-author [dates: the days leading up to Inés’ death is reflected in the children’s timetable in “The Imitation of an Ounce”], so the final submission had to be in the mid-seventies.
Birthday mission
Elena Siesta:
“Sweet Fatherland, fountainhead of chía,
I have carried you away with me for Lent …”
RLV
What do we learn about the author from reading his novel Las Patrias ?
1) That he was born December 15, 1858.
2) That his death was neither by murder nor accident.
3) That he’s of Irish, Spanish, Portuguese, and Jewish descent.
4) That he fell in love with a married woman (whose name isn’t mentioned), and fearing for his life, [was forced] felt he had to go back—exile himself—to Montevideo in 1878.
5) That he never had [didn’t have] to work for a living.
6) That he began writing Las Patrias in 1914 [1904?]
7) That his father was a friend of Juan Crisóstomo Lafinur.
8) That, on various occasions and in many different cities, he met Paul Groussac, Emilio Becher, W. H. Hudson, Hilario Ascasubi, Euclides Da Cunha, Ireneo Funes, Alma-Tadema, The Prince of Faucigny
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