The writer guatemalan discover history of his bror, great taboo of his family, in fifth nouvelle of his cycle of autobiographical
At origin, as in everything, is taboo. In this case, fierce opposition paternal: "You will not write anything about this". But, as pointed out by narrator in a significant passage of Grief, any history is imperative unless prohibited.
that's why re's Duel (Books of Asteroid), new novel from writer guatemalan Eduardo Halfon (1971), fifth nouvelle of a cycle that spider at heart of his poetic and narrative that revolves around identity. By convention, we might frame in fiction. It all started in 2008 with successful boxer from poland, a novel of novels narrated by a character named writer, and whose plots both intimate as a family have very little invention.
In case of Mourning, focus is on story forbidden of Solomon Halfon, bror of author who drowned in a small lake. The narrator returns to landscapes of his childhood, to his grandparents ' house in vicinity of lake Amatitlán, and looks for track of one's paternal uncle that never spoke and just let some photos in sepia, and an old accordion in a trunk. What is Halfon is a double-duel of fraternal relationship in intricacies of ir identity: duel paternal for dead son and her own, a permanent battle for little bror who stole his throne.
"It's a story very biblical, as Cain and Abel. With my bror we had a teen very bitch and n we had to rediscover older", says Halfon. And it does so because it is clear that heart of this cycle narrative is non-fiction. "All falseamos to remember, and here as backdrop for intimate. I would say that conflict intimate or emotional is real, and that fiction or reprocessing of literary is reduced to staging of recreation," he explains.
As is, if in previous novels such as aforementioned boxer Polish, The pirouette (2010), or Signor Hoffman (2015), Halfon took up branch of Polish family of jewish, here focus is on paternal grandparents of lebanese origin, to that of small heard m speak in Arabic. And what is sure is that it is " more novel guatemalan of how many I've written," he says. Thing that without a doubt you will notice reader on end of story, we are fully immersed in interior of ir own country, "a rural Guatemala as poor as violent."
This search of identity "form part of a single book, a single project narrative", says writer, who lives in Nebraska and that he speaks several languages, given his family environment. "It is a topic that is not what I seek, is needed to me. And on way identity be widened, as if we were formed by layers. I feel that I am of no party, of no language, no land, but of many," he explains. As a jew, Halfon knows very well that sting that leads to writing is same that encourages you to Philip Roth, "but perhaps due to fact in addition to Latin america all more exacerbated," she acknowledges. "What this is about is to make sense of fragments that you are".
And in that company, guatemalan faces taboos and prohibitions of ir fars, or maybe we see spurred on by m. "There are No taboo topics, if you do yours and find way of telling it", he says, recalling unthinkable that would have been like in anor era to write about Holocaust or just about wedding of his sister in Israel, in an environment of ultra-orthodox. Both are held in his previous novels.