{"id":4925,"date":"2014-03-03T08:55:12","date_gmt":"2014-03-03T08:55:12","guid":{"rendered":"https:\/\/www.revistarambla.com\/el-archivo-de-alejandro-zambra\/"},"modified":"2014-03-03T08:55:12","modified_gmt":"2014-03-03T08:55:12","slug":"el-archivo-de-alejandro-zambra","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/el-archivo-de-alejandro-zambra\/","title":{"rendered":"EL ARCHIVO DE ALEJANDRO ZAMBRA"},"content":{"rendered":"

\t\"alt\"Con Mis<\/span> documentos<\/span><\/em>, Alejandro Zambra<\/span> (Chile 1975) da<\/span> un verdadero<\/span> salto<\/span> de la novela<\/span> breve<\/span> al relato<\/span> y se confirma<\/span> como<\/span> un escritor<\/span> que<\/span> escarba<\/span> en el realismo<\/span> cotidiano<\/span> vali\u00e9ndose<\/span> de un depurado<\/span> estilo<\/span>, el mismo<\/span> que<\/span> ya<\/span> conforma<\/span>,<\/p>\n

\t\u00a0<\/p>\n

\t\u00a0<\/p>\n

<\/p>\n

\tCon Mis<\/span> documentos<\/span><\/em>, Alejandro Zambra<\/span> (Chile 1975) da<\/span> un verdadero<\/span> salto<\/span> de la novela<\/span> breve<\/span> al relato<\/span> y se confirma<\/span> como<\/span> un escritor<\/span> que<\/span> escarba<\/span> en el realismo<\/span> cotidiano<\/span> vali\u00e9ndose<\/span> de un depurado<\/span> estilo<\/span>, el mismo<\/span> que<\/span> ya<\/span> conforma<\/span>, desde<\/span> sus<\/span> primeros<\/span> t\u00edtulos<\/span> lo que<\/span> viene<\/span> siendo<\/span> el \u00a0principio<\/span> activo<\/span> su<\/span> obra<\/span>. \u00a0<\/strong><\/p>\n

\t\u00a0<\/p>\n

\t\"alt\"<\/span><\/p>\n

\t\u00a0<\/p>\n

\tAunque<\/span> todos<\/span> estos<\/span> 11 relatos<\/span> difieren<\/span> en las<\/span> formas<\/span> de abordar<\/span> el conflicto<\/span> se hermanan<\/span> por<\/span> una<\/span> aurea<\/span> semejante<\/span>; en buena<\/span> medida<\/span> encontramos<\/span> tambi\u00e9n<\/span> melancol\u00eda<\/span>, los rostros<\/span> del desamor<\/span> y el \u00a0inevitable desarraigo<\/span>; un sabor<\/span> a tiempo<\/span> incompleto<\/span> y pasado<\/span>; una<\/span> rabia<\/span> o muchas<\/span> quiz\u00e1<\/span> por<\/span> una<\/span> dictadura<\/span> pinochetista<\/span> cuyos<\/span> remanentes<\/span> todav\u00eda<\/span> existen<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tPero<\/span> este<\/span> no es<\/span> un libro<\/span> sobre<\/span> la dictadura<\/span>, es<\/span> un libro<\/span> de intimidades<\/span> y \u00a0confesiones<\/span> de narradores<\/span> omniscientes<\/span>, pero<\/span> desde<\/span> luego<\/span> que<\/span> tambi\u00e9n<\/span> de primeras<\/span> personas, registro<\/span> en el que<\/span> el autor<\/span> se acomoda<\/span> bien<\/span> \u00a0“Me sent\u00eda<\/span> indestructible. La rabia<\/span> me hac\u00eda<\/span> indestructible. Pero<\/span> no solamente<\/span> la rabia<\/span>. Tambi\u00e9n<\/span> una<\/span> confianza<\/span> ciega<\/span> o una<\/span> cierta<\/span> tozudez<\/span> que<\/span> nunca<\/span> me ha abandonado<\/span>. Porque<\/span> hablaba<\/span> bajo<\/span> pero<\/span> era fuerte<\/span>. Porque<\/span> hablo<\/span> bajo<\/span> pero<\/span> soy fuerte<\/span>. Porque<\/span> nunca<\/span> grito<\/span> pero<\/span> soy fuerte”<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn Mis<\/span> documentos<\/span><\/em>, t\u00edtulo<\/span> del libro<\/span> y del primer relato<\/span>, se repite<\/span> la lecci\u00f3n<\/span> desde<\/span> el principio<\/span> cuando<\/span> asistimos<\/span> al despertar<\/span> de un joven<\/span> que<\/span> descubre<\/span> los secretos<\/span> de la vida<\/span> en un contexto<\/span> pol\u00edtico<\/span>, religioso<\/span> y provocador<\/span>, luego<\/span> est\u00e1<\/span> \u00a0Camilo<\/span><\/em> que<\/span> gira<\/span> en torno<\/span> a\u00a0 los desaf\u00edos<\/span> de la amistad<\/span> y la b\u00fasqueda<\/span> de un padre, aunado<\/span> a \u00a0tragedias<\/span> personales<\/span>, Recuerdos<\/span> de un computador<\/span> personal<\/em>, es<\/span> el descubrimiento<\/span> de un ordenador<\/span> y sus<\/span> significados<\/span>, la ruptura<\/span> de la pareja<\/span>, el desapego<\/span> y la idea sorprendente<\/span> de las<\/span> cosas<\/span>, Yo<\/span> fumaba<\/span> muy<\/span> bien<\/span><\/em> narra<\/span> la cuenta<\/span> atr\u00e1s<\/span> de alguien<\/span> que<\/span> debido<\/span> a severos<\/span> ataques<\/span> de migra\u00f1a<\/span> ha decidido<\/span> dejar<\/span> el tabaco<\/span> al tiempo<\/span> que<\/span> evoca<\/span> a escritores<\/span> cuyos<\/span> v\u00ednculos<\/span> con el cigarro<\/span> son intensos<\/span>; participan<\/span> lo bueno<\/span> y lo malo<\/span>, una<\/span> autorreflexi\u00f3n<\/span> respecto<\/span> a un absurdo<\/span> tratamiento<\/span>, hace<\/span> una<\/span> comparaci\u00f3n<\/span> expl\u00edcita<\/span> con la vida<\/span> de otros<\/span> autores<\/span> que<\/span> tuvieron<\/span> debilidad<\/span> por<\/span> el tabaco<\/span> y que<\/span> se aferraron<\/span> a fumar<\/span>, como<\/span> el caso<\/span> de Julio Ram\u00f3n<\/span> Ribeyro<\/span> y su<\/span> celebrado<\/span> ensayo<\/span> Solo para<\/span> fumadores<\/span><\/em>, as\u00ed<\/span> tambi\u00e9n<\/span> con otros<\/span> autores<\/span> como<\/span> Onetti<\/span> y Katherine Mansfield, “No soy tan est\u00fapido<\/span> como<\/span> para<\/span> decir<\/span> que<\/span> me volv\u00ed<\/span> un fumador<\/span> profesional<\/span> por<\/span> culpa de Heinrich B\u00f6ll<\/span>. No. Fue<\/span> gracias<\/span> a \u00e9l”<\/span>, dice el personaje<\/span> de este<\/span> relato<\/span> que<\/span> gracias<\/span>\u00a0 a las<\/span> novelas<\/span> comprendi\u00f3<\/span> mejor<\/span> su<\/span> pa\u00eds<\/span> y su<\/span> propia<\/span> historia<\/span>. Esas<\/span> novelas<\/span> que<\/span> a todos<\/span> nos cambian<\/span>. Se pregunta<\/span> tambi\u00e9n<\/span> si<\/span> podr\u00e1<\/span> volver<\/span> a leerlas<\/span> sin fumar<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tOtros<\/span> narradores<\/span>, algunos<\/span> arriesgados<\/span>, se atreven<\/span> a ser<\/span>\u00a0 n\u00fameros<\/span> como<\/span> en el caso<\/span> de Instituto<\/span> Nacional<\/span><\/em>, recorrido<\/span> por<\/span> la etapa<\/span> de colegio<\/span> y donde<\/span> con cierto<\/span> humor se evoca<\/span> el valor del compa\u00f1erismo<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn estos<\/span> relatos<\/span> lo autobiogr\u00e1fico<\/span> se desliza<\/span> junto<\/span> a una<\/span> ficci\u00f3n<\/span> que<\/span> no pretende<\/span> deslumbrar<\/span> y que<\/span> lo dice a trav\u00e9s<\/span> del silencio<\/span>.<\/em> Mis<\/span> documentos<\/span><\/em>, son\u00a0 verdaderos<\/span> mapas<\/span> sentimentales<\/span>, abre<\/span> las<\/span> rutas<\/span>\u00a0 que<\/span> habr\u00e1n<\/span> de seguir<\/span> sus<\/span> personajes<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tLarga<\/span> distancia<\/span><\/em>esla<\/span> vida<\/span> de un teleoperador<\/span> intelectual<\/span> que<\/span> coge<\/span> un rumbo<\/span> inesperado<\/span>, hay una<\/span> voz<\/span> en primera<\/span> pero<\/span> m\u00e1s<\/span> adulta<\/span> que<\/span> termina<\/span> haciendo<\/span> de una<\/span> conversaci\u00f3n<\/span> telef\u00f3nica<\/span> un compromiso<\/span> resaltado<\/span> por<\/span> la soledad<\/span> en la que<\/span> a veces<\/span> caemos<\/span> todos<\/span> y que<\/span> se presta<\/span> a confusiones<\/span>. \u00a0<\/p>\n

\t\u00a0<\/p>\n

\tAlejandro Zambra<\/span> se dio<\/span> a conocer<\/span> en 2006 con la novela<\/span> Bons\u00e1i<\/span><\/em>, una<\/span> propuesta<\/span> minimalista<\/span> e inquietante<\/span> que<\/span> de inmediato<\/span> despert\u00f3<\/span> la atenci\u00f3n<\/span> de la cr\u00edtica<\/span> que<\/span> le consider\u00f3<\/span> como<\/span> un verdadero<\/span> heredero<\/span> de Roberto Bola\u00f1o<\/span>, posteriormente<\/span> y abierta<\/span> la senda<\/span>, public\u00f3<\/span> La vida<\/span> privada<\/span> de los \u00e1rboles<\/span><\/em> 2007 ah\u00ed<\/span> experimenta<\/span> lo referente<\/span> a la espera<\/span>, con grados<\/span> elevados<\/span> de nostalgia,\u00a0 Formas<\/span> de volver<\/span> a casa<\/em>, 2011 es<\/span>\u00a0 de una<\/span> densidad<\/span> mayor y donde<\/span> a trav\u00e9s<\/span> de la voz<\/span> de un ni\u00f1o<\/span> de 9 a\u00f1os<\/span> nos muestra<\/span> el Chile de la dictadura<\/span>, el Chile de los c\u00f3mplices<\/span> y v\u00edctimas<\/span> de Pinochet<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn Mis<\/span> documentos<\/span><\/em> los personajes<\/span> de Zambra<\/span> \u00a0est\u00e1n<\/span> en conflicto<\/span> y encuentran<\/span> en embarazosas<\/span> situaciones<\/span>, traban<\/span> amistad<\/span> y a veces<\/span>, tienen<\/span> una<\/span> idea distorsionada<\/span> de esos<\/span> amigos. En Verdadero<\/span> o falso<\/span><\/em>, \u00a0mediante<\/span> el recurso<\/span> de la dualidad<\/span>, conoceremos<\/span> a una<\/span> relaci\u00f3n<\/span> de pareja<\/span> con fecha<\/span> de caducidad<\/span> y a la paternidad<\/span> sentimentalmente<\/span> torcida<\/span>, en este<\/span> relato<\/span> renacen<\/span> viejas<\/span> heridas<\/span> y \u00a0personajes<\/span> que<\/span> por<\/span> sus<\/span> diferencias<\/span> de origen<\/span> transmiten<\/span> extra\u00f1eza<\/span>, aqu\u00ed<\/span> tambi\u00e9n<\/span> el silencio<\/span> habla<\/span> por<\/span> su<\/span> cuenta<\/span>. \u00a0En Vida de familia<\/span><\/em>, nos presenta<\/span> la mentira<\/span> en la que<\/span> el personaje<\/span> principal de un momento<\/span> a otro<\/span> se ve<\/span> inmerso<\/span> cuando<\/span> le toca<\/span> cuidar<\/span> una<\/span> casa que<\/span> no es<\/span> suya<\/span> y que<\/span> termina<\/span> crey\u00e9ndosela<\/span> suya<\/span>, minti\u00e9ndole<\/span> incluso<\/span> a una<\/span> mujer<\/span> de la que<\/span> parece<\/span> haberse<\/span> enamorado<\/span>, se entrecruzan<\/span> ah\u00ed<\/span> la realidad<\/span>, el deseo<\/span> y el fetiche<\/span>, la ilusi\u00f3n<\/span> de inventarse<\/span> una<\/span> vida<\/span> y no saber asumir<\/span> la verdad<\/span>. Gracias<\/em> es<\/span> un asalto<\/span> expr\u00e9s<\/span> a la mexicana<\/span>, dentro<\/span> de un taxi que<\/span> circula<\/span> por<\/span> el DF, un secuestro<\/span> y unos<\/span> amigos que<\/span> con miedo<\/span> relatan<\/span> lo que<\/span> les pas\u00f3<\/span> y les pudo<\/span> haber<\/span> pasado<\/span>, son situaciones<\/span> cargadas<\/span> de humor negro<\/span> e iron\u00eda<\/span> y una<\/span> ambigua<\/span> relaci\u00f3n<\/span> de por<\/span> medio<\/span>.\u00a0 El hombre m\u00e1s<\/span> chileno<\/span> del mundo<\/span><\/em> es<\/span> el relato<\/span> del desarraigo<\/span> donde<\/span> ir<\/span> en busca<\/span> de la mujer<\/span> que<\/span> se am\u00f3<\/span> se convierte<\/span> en un riesgo<\/span> que<\/span> deriva<\/span> en un deambular<\/span> ajeno<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tY por<\/span> \u00faltimo<\/span> Hacer<\/span> memoria<\/span><\/em>, <\/strong>\u00a0una<\/span> historia<\/span> falsa<\/span> de alguien<\/span> que<\/span> ha matado<\/span> y \u00a0est\u00e1<\/span> en la c\u00e1rcel<\/span>, pero<\/span> que<\/span> es<\/span> m\u00e1s<\/span> bien<\/span> un original y arriesgado<\/span> ejercicio<\/span> de metaliteratura<\/span> que<\/span> involucra<\/span> una<\/span> violaci\u00f3n<\/span> y sentimientos<\/span> de sue\u00f1os<\/span> y realidades<\/span> posibles<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tAlejandro Zambra<\/span> es<\/span> un escritor<\/span> que<\/span> se ha planteado<\/span> historias<\/span> sacadas<\/span> de la realidad<\/span> donde<\/span> nos demuestra<\/span> lo cotidiano<\/span> sin ir<\/span> en busca<\/span> de la \u00a0exageraci\u00f3n<\/span>, el maquillaje<\/span> soberbio<\/span>, o el golpe<\/span> en falso<\/span>, pues<\/span> prefiere<\/span> la cara<\/span> m\u00e1s<\/span> l\u00facida<\/span>, carveriana<\/span><\/em> e impecable<\/span> de las<\/span> vidas<\/span> que<\/span> aun<\/span> sin conocer<\/span> pareciera<\/span> que<\/span> las<\/span> conoci\u00e9ramos<\/span> de hace<\/span> tiempo<\/span>. Escribe<\/span> adem\u00e1s<\/span> ensayo<\/span> y poes\u00eda<\/span> y ha ejercido<\/span> la cr\u00edtica<\/span> literaria<\/span> en diversas<\/span> revistas<\/span>. Mis<\/span> documentos<\/span>, es<\/span> un libro<\/span> de argumentos<\/span> y conflictos<\/span> pero<\/span> sobre<\/span> todo<\/span> de voces<\/span> intimistas<\/span>, de altos decibeles<\/span> e inesperadas<\/span> dosis<\/span> de humor e iron\u00eda<\/span> que<\/span> tanta<\/span> falta<\/span> hacen<\/span> en los libros<\/span>\u00a0 tambi\u00e9n<\/span> en la vida<\/span> \u00bfQui\u00e9n<\/span> se atreve<\/span> a decir<\/span> que<\/span> no?<\/p>\n

\t\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

Con Mis documentos, Alejandro Zambra (Chile 1975) da un verdadero salto de la novela breve al relato y se confirma como un escritor que escarba en el realismo cotidiano vali\u00e9ndose de un depurado estilo, el mismo que ya conforma, \u00a0 \u00a0<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":["post-4925","post","type-post","status-publish","format-standard","hentry","category-libros"],"yoast_head":"\nEL ARCHIVO DE ALEJANDRO ZAMBRA - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/el-archivo-de-alejandro-zambra\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"EL ARCHIVO DE ALEJANDRO ZAMBRA - 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