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Interview with Nona Fernández: "I grew up in a land of dead and ghosts" | News instantly from LAVOZ.com.ar



From the first sketches to the accomplished narrator, from debut to recognition, from the private ghosts to those of a nation: between the books The Sky and unfolds the unknown dimension the notable career of Nona Fernández (1971), writer, actress, playwright and Chilean screenwriter, who seeks to thwart her country's political history with pop culture and personal experiences.

Both books, which were published in Argentina this year, also reveal Fernández & # 39; s affinity to an interesting tragicomic abstraction, a speculative action that is not exempt from fable, anecdotes and characters. Between Heaven and The Unknown Dimension spent a full life.They passed the commerce, the focus of a look, conviction and insistence on writing. El Cielo was written by a young woman who plunged into commerce, without much certainty, full of uncertainties. The Unknown Dimension was written 1

5 years later by a woman with new uncertainties and less certainties.Spelling has since been sheer dizziness "says the writer.

The secretly entangled stories of El Cielo pass between wine, drops of blood, urban loneliness, dead and Gothic decadence. While there are still no hallmarks for generation brands such as movies, video games or songs – which later emerge in novels like Fuenzalida or Space Invaders – the monologue, the spectral prose the will, bitter truths

"If I knew why I write what I write, I might quit," he adds. There would be no secrets to discover, to approach riddles. I like to write like that, in the dim light, without clarity, without reason. Maybe when I grew up in a land of dead and ghosts, this imaginary guy got into my writing. But I do not know. And I do not want to know. "

The unknown dimension that was awarded the prestigious prize of Sor Juana Inés de la Cruz last year, is Fernández's most demanding and daring delivery so far … The narrator enters the" unknown dimension "without any resguardos of the title, into a man's amoral limbo, and into a designated era of Rod Serling's fantastic television series … Almost a girl, the protagonist in a magazine reads the revealing testimony of a penitent torturer and deserter of the Pinochet regime: the character of Andrés Antonio Valenzuela Morales is summoned in the current step by memory institutions, something emaciated and commissioned by a regressive Manichaeism, to the antipodes of the disturbing ambiguity of the "unknown dimension" with the spirit of a medium.

In the end, the narrator reports on a new generation (the grandson the dictatorship) and rehearse an exciting reckoning with Hor ror, which is as intuitive as impossible to experience for the future. Does this resolution trigger a new phase in Fernandez's work?

"I do not think a topic is scarce, so long as there is an expressive need, everything is legitimate, I think, yes, the editorial and academic movements tend to make certain subjects fashionable and thus drown them. Personally, I feel called to enter other subjects to discover the "unknown dimension" of the 21st century, "he says.

-Jugás with the pop-imaginary. What triggered this gesture?

-All speakers who Space Invaders Billy Joel, The Ghostbusters The Twilight Zone are part of the images of the time I try to depict. They happen to be in my memory as I try to reconstruct those scenes from the 70s and 80s. And also because I am ready to reconsider these themes and these stories of Chile at that time. Remove them from solemnity, from victimization, from officiality. Offer a new look, more disorderly, more playful, that's why nodding to pop, to junk culture, sometimes to humor. I really believe that we need to be able to tell our story, and we need to learn it for that. Playing with these pop speakers, who are also part of our culture and give them a sense of purpose, is part of this appropriation exercise.

-So TV screenwriter. What does this dedication mean?

-The television script gave me the freedom to bring my literary and theatrical project to purely authoritarian places. While others give classes, write articles, conduct interviews or develop parallel careers that enable them to survive, I write soap operas. Thanks to that I can write in my personal projects what I want. They are very, very different creations. A book requires more reflection, time, it is pure authorship. I'm the only one responsible for what I write. But in a script, my job is to translate the perspective of many people. A chapter of a soap opera sees a number of people far exceeding the output of a book of mine. They are different scriptures where the common point is me. There are more interesting projects in this exercise than others, but I try to acquire them and do something that has some sort of utility.

– Does Sor Juana Ines de la Cruz accept a consecration?

– It's strange, I feel far from being a consecrated person. I think I am the same insecure woman who wrote El Cielo . The same, which is full of dizziness and even fear, is installed in front of the computer every day. My was always an attempt, never a consecration. [194559002]
El Cielo

Nona Fernández
Caballo Negro
157 pages
$ 270

[196590000]

The Unknown Dimension
Nona Fernandez
Penguin Random House
238 pages
$ 429


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