To approach the narrative of Claudia Hernández (1975-), it is necessary to resort to adversative sentences and oxymoronic expressions: the writer recounts cruelty with harshness and firmness, but allows gentleness to emerge; she narrates from the distance of a respectful and detached voice, but with an endearing attachment to her characters. He denounces violence and injustice in a peremptory and painful way, but does not judge. His disposition is never indulgent, but opens up the possibility of change, as if nurturing hope. His stories may be moving, but they are not consoling, but rather provoke a sympathetic participation. Clearly, these comments and definitions, perhaps lapidary, but which will become clearer in the course of this study, introduce a complex and articulate literary work, supported by its own aesthetic, which does not make concessions to fashionable editorial recipes, nor does it conform to the traditional forms of the literary genres of her country, El Salvador. Indeed, although Claudia Hernández tackles some of the predominant themes in current Central American narrative, namely the different forms of violence and injustice, migration, the unresolved memory of revolutions, she expresses them with a distinctive style and from a perspective that is always original and questioning, attentive to the complexity of the phenomena.
REPENSAR LA COMUNIDAD EN LA NARRATIVA DE CLAUDIA HERNÁNDEZ
Emanuela Jossa
2023-01-01
Abstract
To approach the narrative of Claudia Hernández (1975-), it is necessary to resort to adversative sentences and oxymoronic expressions: the writer recounts cruelty with harshness and firmness, but allows gentleness to emerge; she narrates from the distance of a respectful and detached voice, but with an endearing attachment to her characters. He denounces violence and injustice in a peremptory and painful way, but does not judge. His disposition is never indulgent, but opens up the possibility of change, as if nurturing hope. His stories may be moving, but they are not consoling, but rather provoke a sympathetic participation. Clearly, these comments and definitions, perhaps lapidary, but which will become clearer in the course of this study, introduce a complex and articulate literary work, supported by its own aesthetic, which does not make concessions to fashionable editorial recipes, nor does it conform to the traditional forms of the literary genres of her country, El Salvador. Indeed, although Claudia Hernández tackles some of the predominant themes in current Central American narrative, namely the different forms of violence and injustice, migration, the unresolved memory of revolutions, she expresses them with a distinctive style and from a perspective that is always original and questioning, attentive to the complexity of the phenomena.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
