Hay Que Sonreir Frases Luisa Valenzuela
Luisa Valenzuela is a post-'Boom' novelist and short story writer. Her writing is characterized by an experimental, avant-garde style which questions hierarchical social structures from a feminist perspective.
Hay Que Sonreir Frases Luisa Valenzuela En
She is best known for her work written in response to the dictatorship of the 1970s in Argentina. Works such as Como en la guerra (1977), Cambio de armas (1982) and Cola de lagartija (1983) Luisa Valenzuela is a post-'Boom' novelist and short story writer.
Her writing is characterized by an experimental, avant-garde style which questions hierarchical social structures from a feminist perspective. She is best known for her work written in response to the dictatorship of the 1970s in Argentina. Works such as Como en la guerra (1977), Cambio de armas (1982) and Cola de lagartija (1983) combine a powerful critique of dictatorship with an examination of patriarchal forms of social organization and the power structures which inhere in human sexuality and gender relationships.
VALENZUELA, Luisa 1938-PERSONAL: Born November 26, 1938, in, Argentina; daughter of Pablo Francisco Valenzuela (a physician) and Luisa Mercedes Levinson (a writer); married Theodore Marjak, 1958 (divorced); children: Anna-Lisa. Education: University of, B.A. Hobbies and other interests: Masks, ceremonies, travel.ADDRESSES: Home—Artilleros 2130, 1428 Buenos Aires, Argentina.CAREER: Nacion, Buenos Aires, Argentina, editor of Sunday supplement, 1964-69; writer, lecturer and freelance journalist in the, Mexico, France, and Spain, 1970-73; freelance writer for magazines and newspapers in Buenos Aires, 1973-79;, NY, writer-in-residence, 1979-80, taught in writing division, 1980-83; University, New York, NY, visiting professor, 1984-89. New York Institute for the Humanities, fellow.MEMBER: PEN, Fund for Free Expression (member of freedom-to-write committee), Academy of Arts and Sciences. Other critics praised The Lizard's Tale as an important work of Latin-American fiction. In the Review of Contemporary Fiction Marie-Lise Gazarian Gautier called the novel 'fascinating,' a 'gorgeously surreal allegory of Argentine politics.' In her Review essay on the work, critic and translator Edith Grossman dubbed the novel 'remarkable' and noted that in it 'Valenzuela reaffirms the powerful significance of language and the value of the artful word as legitimate modes of understanding the dark enigmas of brutality and violence.'
Valenzuela's criticism of Argentine politics is often coupled with an equally harsh look at the fate of women in such a society. In World Literature Today Sharon Magnarelli found Valenzuela 'always subtly political and/or feminist.' Magnarelli detected a link between Valenzuela's wordplay and her portrayal of women in her fiction, viewing the work as 'an attempt to free language and women from the shackles of society.' Valenzuela's novel Hay que sonreir, for example, deals with Clara, a young woman who comes to Buenos Aires from the provinces and turns to prostitution in order to support herself.
In the novel one sees the beginnings of Valenzuela's characteristic experimentation with form: the story is told through first-and third-person narrations alternating between past and present tenses. The book also contains a clear statement of the writer's feminist concerns. 'One of the main themes of the text,' Magnarelli noted, 'is unquestionably contemporary woman's plight with the social expectations that she will be passive, silent, industrious (but only in areas of minor import), possessed by a male (be he father, husband, or pimp) and that she will continue to smile ( hay que sonreir 'one has to smile' in English) in spite of the exploitation or violence perpetrated against her.' Critics have also commented on the female protagonists of the stories in Valenzuela's collection Other Weapons, five narratives dealing with male/female relationships. While many Argentine writers focus attention on the larger social and economic ramifications of their country's perpetual political violence, Valenzuela, as both Voice Literary Supplement contributor Brett Harvey and Review contributor Mary Lusky Friedman commented, reveals how the stress of living in a repressive society undermines interpersonal ties between individuals in that society.
Other Weapons 'testifies to the difficulty of forging, in politically distressed times, sustaining personal relationships,' Friedman observed. 'The failures of intimacy that Valenzuela depicts are the quieter casualties of Argentina's recent crisis.'
In Valenzuela's work, as Valerie Gladstone pointed out in the New York Times Book Review, 'Political absurdity is matched only by the absurdity of human relations.' Politics play an important role in Valenzuela's Black Novel (with Argentines), although the novel also plays with other forms and motifs. The story of Palant, an Argentinian expatriate in New York City who murders an actress for no reason whatsoever, begins as a psychological study. Michael Harris, writing in the Times Books Review, noted that Valenzuela's frenetic prose defies classification: 'This is no meditation on guilt.Norisitan existentialist celebration of a 'gratuitous act.' It's something else.'
As Palant begins to question the reality of the murder, wondering if the whole thing wasn't just a theatrical performance, Valenzuela reveals that he is actually in self-exile in New York, tormented by memories of the Argentinian 'dirty war'; his experience of the theatricality of New York comes in part from years of living in Buenos Aires, pretending not to notice the atrocities around him. 'Yet Black Novel isn't standard political fare, either,' commented Harris. 'This is a witty, sexy, literary book by a highly sophisticated writer.' With Symmetries, a collection of short stories, Valenzuela again garnered much critical acclaim for her mastery of the form.
Booklist reviewer Brad Hooper called the author 'a breathtaking adapter of the form's peculiar qualities to suit her own ways of expression.' The collection includes everything from interior monologues to adaptations of biblical stories and fairy tales; in '4 Princes 4,' for example, Valenzuela presents a prince who refuses to wake his sleeping beauties with a kiss, preferring instead for the women to remain forever inanimate. While exploring themes of power and gender, Valenzuela is careful both 'to tell an edgy story and to show the reader how it was constructed,' noted Harold Augenbraum in Library Journal. Comparing her with other postmodern writers, such as Calvino and Borges, Review of Contemporary Fiction contributor D. Quentin Miller wrote that Valenzuela 'adds violence to their playfulness, and her stories are driven by a deadly urgency'; he also stated that she 'should be counted among these masterful authors of stories about storytelling.'
Valenzuela continues her exploration of political and patriarchal domination in the novel La Travesia. How to look at time server setup for windows 7. In it, she tells the story of an unnamed female professor who drifts through the New York scene, becoming friends and lovers with bizarre people. The narrator 'tends to be a participant in other people's projects,' noted Naomi Lindstrom in World Literature Today; 'only at the end of the novel does she acquire the resolve to draw upon her own resources.' In the mean time, she must deal with her manipulative older husband and confront her Argentine past.
Lindstrom commented that La Travesia contains 'a good dose of satire, a tricky and fast-paced plot whose diverse strands are well-coordinated, and a cast of memorably weird secondary characters.' BIOGRAPHICAL AND CRITICAL SOURCES: booksBrown, Mary Ellen, and Bruce A. Citation stylesEncyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates.
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