“El hueso se convirtió en un hueso que escribe”: Gelman between “juan” and “Juan”
This article studies the self-figuration processes that argentine poet Juan Gelman displays in his first four books of poetry and the connections that these practices have with his following and most important books of the late Seventies and Eighties. By using some ideas by Agamben, Robin and Rancière among others, this article analyzes the relationship between politics and self-figuration and the tension in the first books between a, in appearance, self-referential “Juan” and a more politically and socially involved “juan”. These two “juanes” are the first manifestation of a broader question that seems to haunt Gelman’s poetry: how to portray himself, how to create a literary persona “Gelman” that is socially aware of the political struggles of those other “juanes” but who doesn’t confine his practice as a poet to a unilateral anticipatory cluster of meanings that, in fact, ends up undermining politics and political possibilities of resistance?
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