Abstract
This article analyzes the first stage of Adolfo Cárdenas Franco’s narrative, beginning with the collection of short stories compiled in Fastos marginales (1989) up to his first novel, Periférica Blvd. Ópera rock-ocó (2004). The analysis takes into consideration the use of narrative procedures identified as NeoBaroque and largely used during the so called Latin America’s cosmopolitan period (1880-1940). Cárdenas experiments with the way in which oral representation is spoken in marginal sectors of Bolivian society, especially those from La Paz, and makes use of visual and sound procedures that have a Neo-Baroque dramatic quality. The complex result of the representation demands an active participation by the reader.
Highlights
This article analyzes the first stage of Adolfo Cárdenas Franco's narrative
with the collection of short stories compiled in Fastos marginales
The analysis takes into consideration the use of narrative procedures identified as
Summary
Para estudiar la narrativa de Cárdenas es necesario considerar el periodo cosmopolita de la literatura boliviana y latinoamericana, comprendido por el modernismo y el vanguardismo. Severo Sarduy (1937-1993) utilizó por primera vez el término “neobarroco” al hablar de las características barrocas en la narrativa latinoamericana contemporánea en su ensayo de 1972 “El Barroco y el Neobarroco”.5 Pero como he explicado, varias de estas características barrocas no son propias de la narrativa contemporánea, sino que aparecen durante el modernismo y el vanguardismo hispanoamericano. A pesar de que la cultura barroca entró primeramente a América como producto de la invasión colonial europea, el neobarroco –como un procedimiento creativo constante en distintas épocas–, no es una deficiencia en nuestra literatura, pues ha sido inevitable que los escritores hispanoamericanos como Cárdenas penetren en la realidad de sus regiones como en un laberinto barroco para indagar por la especificidad o diferencia americana
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