Reflexiones intempestivas. Género, afectos y pandemia

Alejandra Romano

doi:10.14198/PANGEAS.22432

Authors

Alejandra Romano Universidad de Buenos Aires, Argentina https://orcid.org/0000-0002-7548-5634

DOI:

https://doi.org/10.14198/PANGEAS.22432

Keywords:

Pandemic, temporality, subjectivity, language, gender

Abstract

Within the next future history that is written of our times, the COVID-19 pandemic will undoubtedly be a turning point in the historical narrative as well as in its collective temporary representations as soon as the 21st century has begun, given that the experience of the temporary dilation produced by the virus ─materialized in a mandatory worldwide quarantine─ revealed the artificial and conflictive structures of a “successful” present based on its evolutionary budget (Premat, 2016), on which the official narrative of modern capitalism tried to naturalize a harmonious and, paradoxically, a historical continuity of the past-present-future triad. A narrative that, furthermore, traditionally configured in its explanatory schemes the supremacy of chronology, the linearity of time, and its systematically controlled advance as a progressive order, installing a certain regime of presentist historicity (Hartog, 2003) as the only possible time’s imaginary in current modernity to live, and therefore, to narrate with. In this sense, we intend to analyze in this work the essay Borrador para un abecedario del desacato (2021) by Vir Cano as a literary commitment to the search and exploration of pandemic stories insubordinate to the current temporal regime. In this way, we will analyze the possible modulations of a dissident temporality to the presentist temporalities of the contemporary era from a book originated and produced at the same time as the global event of the coronavirus. Thus, we postulate such writing as an outdated fiction and an untimely writing that operates from the margins of literature to produce fissures in the present from language and from the very body of the story itself. The methodological approach to the literary work will therefore be based on a textual rhetorical analysis, given that its tools will make it possible to reveal the discursive procedures of the artifice used by Cano, such as the palimpsest or the alphabetical contempt of the dictionary, and to point out in his modes of narrative operation, at the same time, the outline of an imaginary that preserves the power —both of its deviations and of its repetitions— of other languages and other possible times.

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