FL 380: An Archaeology of the "Boom": Modern Latin American Prose Fiction

  1. 3 Narration in the 1st. person: Horacio Oliveira speaks: Time frame: after the events in Chp.23 : A search: La Maga
  2. 3 Values: "people who make dates . . . toothpaste"
  3. 3 Bohemian life: "pseudo-student existence in Paris"
  4. 4 "and still we were not satisfied"
  5. 4 On Mme. Léonie and La Maga: "I was afraid that she would read. . ."
  6. 6 Fatality: "We had barely come . . . little by little"
  7. 6 La Maga: "a chess world where you moved . . . "
    a. "your refusal to accept the acceptable"
  8. 6-7 An exercise of merit: "to think about useless things. . ."
  9. 7 "I realized that searching was my symbol. . ."
  10. 11 "We didn't love each other, so we made love. . ."
  11. 12 La Maga: "Praise of disorder would have. . ."
  12. On himself: "That was all she, no doubt . . . always being myself and my life. . ."
  13. 13 On himself: "I had refused to pretend that the chaos. . ."
  14. 13 A witness, a spy, perchance a judge: La Maga
  15. 14 A huge problem: "Why couldn't I accept what was happening without trying to explain
    it. . ."
  16. 16 Narration in the 3rd. person: A very knowing narrator speaks: Time frame: prior to the events in Chp.23, sometime in the relationship.
  17. 17 A skeptic: "To believe that action. . ."
  18. 17 A certainty: "The only thing certain was the weight. . ."
  19. 17 A road not taken: "If he had made any choice. . ."
  20. 18 La Maga: "one of the few people who never forgot. . ."
    a. What to make of this?
  21. 18 Values: "He was middle class, from Buenos Aires. . ."
  22. 18 The dubious value of the "I": "does it have any value as proof?"
  23. 19 The (human) specie and its sclerosis: "As if the species in every individual were on guard against. . ."
  24. 20 La Maga right on the money: "You couldn't do it . . . You think too much before you do anything."
    a. "You're the one who goes to the museum. . ."
    b. EXPENDABLE CHAPTER 84: On the limits imposed by habits and disposition on the self and its perception of "reality".
    c. EXPENDABLE CHAPTER 71: On innocence lost and the search for the millenary kingdom:
         i. 379 "Let us say that the world is a figure, it has to be read. By read let us understand generated."
  25. 28-29 One night in bed: "Oliveira felt that La Maga wanted death from him. . ."
  26. 31 A curious technique to get together
  27. 34 A path: "and we understood less and less. . ."
  28. 36 What do these pseudo-students argue about?
  29. 40 All that jazz...
  30. 49 Some intuitions: "The intercessors, one unreality (. . .) It could be true . . . but it isn't"
  31. 52 A recrimination: "You've come here in the same mold. . ."
  32. 57 "No matter how it hurts me, I shall never. . ."
    a. Indifference v. a certain unheard-of idea
  33. 60 La Maga: "As far as I am concerned. . ."
  34. 61 Ireneo and La Maga at thirteen in a Montevideo tenement
  35. 62 "There's no such thing as a general idea."
    a. EXPENDABLE CHAPTER 120: On innocence lost and Ireneo as a young boy
  36. 63 Etienne the indifferent: "Oh, La Maga richly deserved. . ."
  37. 66-67 Horacio and pain: "I can't either, but he. . ."
    a. Thingness
  38. 70-71 Jazz and the roads not taken: "that perhaps there have been other paths. . ."
  39. 79 The self as fiction: "When he had been a student. . ."
    a. A linguistic unity and a premature sclerosis of character
  40. 80 Language: "Man's rape by word, the masterful vengeance. . ."
  41. 80 An impossibility: "To arrive at the word without words. . ."
    a. EXPENDABLE CHAPTER 90: More on Horacio's quandary
  42. 82 "I have to tell it, you don't understand. . ."
  43. 84 "You are not leaving because. . ."
  44. 86 "I can't picture you crying. . ."
  45. 89 "I don't know . . . Sometimes I think about killing myself. . ."
    a. 2 sorts of suicide
  46. 92 "It's sad to reach the point in life where it's easier . . ."
  47. 96 "There are metaphysical rivers. . ."
  48. 96 "I have quickly been condemned without appeal. . ."
    a. EXPENDABLE CHAPTER 79: A pedantic -but important- note by Morelli on two sorts literature and two types of readers.
  49. 98-99 Otherness and togetherness?
  50. 101 "Only by living absurdly is it possible to break out. . ."
  51. 109 Berthe Trépat: "Interesting . . . more and more certain that he was dreaming."
  52. 112 "It's repulsive, I ought to fling her down. . ."
  53. 115 "I really have nothing to do with my own self"
  54. 119 "But he had to fight against the idea, the joy had . . ."
  55. 123 "That was so nobody could tell, with his face all wet in the rain nobody could tell".
  56. 123 "he said to himself that he had really not been such an idiot. . ."
  57. 124 "One after another his matches began to go out. It was enough to make you laugh."