Sabato, a short work, a vast literature
By Javier Aranda Luna
time, the Grand Wizard, has ruled in favor of Ernesto Sabato when communism took away the real, when he raised his criticism of the supposed neutrality of science or raised his voice to warn of the danger posed by the banality of literary circus.
His first doubts about communism were confirmed by the destroyer Joseph Stalin, his criticism of alleged scientific neutrality the World War II confirmed and expertólogos to realize today by analysis "thin" realities that exist and, finally, a publishing industry gobbled up by the market, with few exceptions, has shown us that the circus is the literary link of a big business that has contributed to degrading education: an array of books "specialized" and unidentified has cast aside the classics in many schools.
To Sabato: "The fashions have nothing to do with the deep history of literature. Kafka was never part of any boom of Czech literature. "
Your decision to be unpopular because of their ideas allowed him to Ernesto Sabato in 2000, a sharp critique of modern societies have lost by core values \u200b\u200bsuch as dignity, impartiality, honesty, "the pleasure in doing things right" and respect for others.
From his earliest books, the controversy was a constant in his life. His book of essays One and the universe have directly questioned the impartiality of scientific ethics and the tunnel, his first novel, known existentialist in tone. Tone that persisted in the other two books of his essential trilogy: On Heroes and Tombs and Abaddon the destroyer.
in 1948 after being rejected by several publishers, the legendary magazine Sur, headed by Victoria Ocampo, published The tunnel, a novel whose plot is crossed by the madness and anxiety of modern man and living in the central character in the novel, the inordinate love and hate . If the Argentine publishing provincialism of those years did not see in the tunnel a great novel, Albert Camus Gallimard promoted to the publication in France.
no wonder that a magazine published the tunnel.
For many years cultural magazines and supplements were the real thermometer of literary work: A platform for sensitivity but also a quality control mechanism that guaranteed readers not meet deaf poets and storytellers and essayists to stutter.
When it appeared in 1948 Sabato The tunnel was not unknown in the literary world. Although professional doctorate was in physics, was a collaborator of the South from 1940 through the intervention of one of his former teachers: Pedro Henríquez Ureña. And not a small thing to be partner of the South. According to Gabriel García Márquez and Mario Vargas Llosa, the magazine managed to create a true community of readers. Speaking
the Cervantes Prize, noticed something Sabato and his literary creed. The soul, he said, is the place where they appear the ghosts of dreams and fiction. "Men build painfully his inexplicable fantasies because they are embodied, that long for eternity and must die, because they want to perfect and imperfect, because they want the purity and are corruptible. Why write fiction. "
Dostoevsky, said at the time, set out to write a pamphlet on the problem of alcoholism in Russia and came out Crime and Punishment. Cervantes wanted to write a hilarious parody of chivalric romances and ended up creating "one of the most moving parables of existence." Perhaps
Ernesto Sabato just wanted to write three novels, The Tunnel, On Heroes and Tombs and Abaddon the destroyer and ended up doing a portrait of the darkest folds of the human heart where love and hate is truncated to light in the gloom that accompanies the blind. His work is brief, literature, vast.
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