Cartón y cumbia

Este texto propone un análisis de la experiencia de la editorial argentina Eloísa Cartonera. Luego de estudiar las prácticas colectivas de este sello como un modo de conectar cuerpo, espacio (el taller de la editorial) y literatura, se estudia críticamente el estatuto de las producciones de Eloísa Cartonera en el contexto de la cultura contemporánea del libro. Finalmente, se desarrolla una comparación entre esta experiencia editorial y el “cine imperfecto” de Julio García Espinosa.Ce texte propose une analyse de l’expérience de la maison d’édition argentine Eloísa Cartonera. Après une étude des pratiques collectives développées par cette maison -des pratiques définies comme une façon de connecter le corps, l’espace (l’atelier de la maison d’édition) et la littérature-, l’auteur examine le statut des productions d’Eloísa Cartonera dans le contexte de la culture du livre contemporaine. Finalement, il développe une comparaison entre cette expérience éditoriale et le « cinéma imparfait » de Julio García Espinosa.This text aims at analysing the experience of the Argentine publishing house Eloísa Cartonera. It focuses firstly on its collective practices as a way of intertwining body, space (the publishing workshop) and literature. Secondly, it assesses critically the status of Eloísa Cartonera’s productions in the broader context of contemporary book culture. Finally, it develops a comparison between this publishing experience and Julio García Espinosa’s “imperfect cinema”

Limits of the book: Interfaces of literary culture in contemporary Latin America

My dissertation is a study in contemporary book history. In it, I read a series of writers and collective projects in dialogue with the reproducible edition, long the central interface of literary culture in Latin America. It is a critical commonplace that this culture has, in recent decades, undergone ground-shifting institutional and conceptual transformations. I take these changes as a springboard for interrogating the work of Argentine writers Osvaldo Lamborghini and César Aira, Mexico City-based novelist Mario Bellatin, and the collective projects Elofía Cartonera and Estación Pringles, both of which operate in Argentina. My reading of this corpus focuses on the common tendency in their works to imagine and enact forms of literary sociality that do not revolve around the reproducible edition. Examining their writings and gatherings against the backdrop of other media—notebooks, fliers, museums, towns, and blogs—I read them as experimental responses to the shifting relationships among the distinct actors in contemporary literary culture. Ultimately, I argue that these individual cases index a growing tendency among contemporary Latin American writers to displace the reproducible edition in favor of more site-specific, interactive interfaces of literary culture. I accomplish this through a combination of empirically-based research in book publishing with speculative readings of literary texts. Thus, I begin by outlining the channels of publication and distribution that undergird much of Latin America\u27s twentieth-century literary culture. From there, I focus on the work of Lamborghini, Aira, Bellatin, Eloísa Cartonera, and Estación Pringles. Again coupling speculative, text-based readings to empirical developments in publishing, I make the case that these writers and projects point toward forms of literary culture in which participants—authors, publishers, readers, and spectators—come into intimate contact with each other. In this way, I trace the contours of a literary culture centered on media other than the book, a culture that, as I briefly discuss in my conclusion, increasingly includes digital forms of literary production alongside practices such as the ones typified by my corpus

Pedagogías de la escritura: dos modelos de literatura latinoamericana mundial: two models of latin american world literature

This article focuses on two university programs in Spanish-language creative writing: one at the University of Iowa and the other at the University of Texas-El Paso (UTEP). In order to describe the aesthetic orientations corresponding to these literary institutions, the article dialogues with two fields: studies of creative writing as a gatekeeping institution and studies of Latin American literature in relation to the concept of world literature. The first half of the text reviews the emergence of creative writing as a university discipline in the United States and its historical relationship with Latin American literature. The second half carries out a reading of textual materials produced by the two programs, offering a descriptive typology of the different positions taken toward world literature in the two programs: one that can be described as cosmopolitan and another that is best conceived as a border aesthetics.Este artículo se centra en dos programas universitarios de escritura creativa en lengua española: el de la Universidad de Iowa y el de la Universidad de Texas en El Paso (UTEP). Para describir las orientaciones estéticas correspondientes a estas instituciones literarias, el artículo dialoga con dos campos: estudios de la escritura creativa como institución gatekeeper y estudios de la literatura latinoamericana en relación con el concepto de literatura mundial. La primera mitad del texto repasa la emergencia de la escritura creativa como disciplina universitaria en los Estados Unidos y su relación histórica con la literatura latinoamericana. La segunda mitad realiza una lectura de materiales textuales producidos por los dos programas, para ofrecer una tipología descriptiva de sus respectivas posiciones hacia la literatura mundial: una posición que se puede describir como cosmopolita y otra que mejor se concibe como una estética fronteriza

El libro como performance

La comunidad poética Estación Pringles entabla un diálogo intrigante con el formato libro. Por una parte, su acercamiento teatral a la poesía parecería excluir la posibilidad de ver este medio como un modelo para el proyecto. Sin embargo, en su diálogo con la línea poética iniciada por Stéphane Mallarmé, esta iniciativa artística propone un concepto del libro como performance. Esta orientación es evidente, además, en la producción impresa de Estación Pringles.The poetry community Estación Pringles carries out an intriguing dialogue with the book format. On the one hand, its performative approach to poetry would seem to exclude the possibility of seeing this medium as a model for the project. Nevertheless, in its dialogue with the poetic lineage begun by Stéphane Mallarmé, this artistic initiative proposes a concept of the book as performance. This orientation is evident, besides, in the print products of Estación Pringles

Limits of the book: Interfaces of literary culture in contemporary Latin America

My dissertation is a study in contemporary book history. In it, I read a series of writers and collective projects in dialogue with the reproducible edition, long the central interface of literary culture in Latin America. It is a critical commonplace that this culture has, in recent decades, undergone ground-shifting institutional and conceptual transformations. I take these changes as a springboard for interrogating the work of Argentine writers Osvaldo Lamborghini and César Aira, Mexico City-based novelist Mario Bellatin, and the collective projects Elofía Cartonera and Estación Pringles, both of which operate in Argentina. My reading of this corpus focuses on the common tendency in their works to imagine and enact forms of literary sociality that do not revolve around the reproducible edition. Examining their writings and gatherings against the backdrop of other media—notebooks, fliers, museums, towns, and blogs—I read them as experimental responses to the shifting relationships among the distinct actors in contemporary literary culture. Ultimately, I argue that these individual cases index a growing tendency among contemporary Latin American writers to displace the reproducible edition in favor of more site-specific, interactive interfaces of literary culture. I accomplish this through a combination of empirically-based research in book publishing with speculative readings of literary texts. Thus, I begin by outlining the channels of publication and distribution that undergird much of Latin America\u27s twentieth-century literary culture. From there, I focus on the work of Lamborghini, Aira, Bellatin, Eloísa Cartonera, and Estación Pringles. Again coupling speculative, text-based readings to empirical developments in publishing, I make the case that these writers and projects point toward forms of literary culture in which participants—authors, publishers, readers, and spectators—come into intimate contact with each other. In this way, I trace the contours of a literary culture centered on media other than the book, a culture that, as I briefly discuss in my conclusion, increasingly includes digital forms of literary production alongside practices such as the ones typified by my corpus