By Roberto Arlt
Una de las obras más poderosas de Arlt, donde los personajes más delirantes, cínicos y patéticos se cruzan en una trama escrita a ritmo policíaco. los angeles novela trata las desventuras de Remo Erdosain, un mediocre cobrador que ha estafado a l. a. empresa para los angeles cual trabaja. Lo han delatado y l. a. empresa le exige que devuelva el dinero. El tiempo corre en su contra, y angustia sobre desesperación, descubre que su mujer lo abandona para comenzar una nueva vida junto a otro hombre. Además, Gregorio Barsut, primo de su mujer, le confiesa que fue él quien lo delató. Erdosain make a decision matar a su acusador. Para esto, cuenta con el apoyo del Astrólogo, un absurdo personaje que está organizando una sociedad secreta con l. a. que piensa transformar el mundo.
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Extra resources for Los Siete Locos
According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.
Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.
With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.