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literary gatherings flushed in such a way the words, that the act in which become filled with meaning is always something of a miracle. Last Thursday, when the FIL was soon to close its sixth day, took place one of those miracles. With the occasion of the 25th anniversary of the Prize Sor Juan Inés de la Cruz, 11 of the winners gathered to recreate the texts of the mexican poet, who took the habits to be able to write and that, finally, is prohibited.
Today his effigy is carved on the banknote of 200 pesos. The nicaraguan Gioconda Belli, the chilean Nona Fernández y Tatiana Wolf and the mexican Ana García Bergua, Margo Glantz, and Angelina Muñiz-Huberman approached the nun jerónima with humor and rigor, on the basis of the poetry, astronomy, and rebellion. “Withdrawal yes, never defeated,” said Wolf. “Sor Juana represents the inability of women of their time to devote themselves to letters, if not enter a convent,” he had said prior to the event, the argentine Claudia Piñeiro, who was studying economics because the dictatorship eliminated the careers of the Humanities.
When it came to his turn, approached the lectern and announced that it would summarize with five “echoes” of the TWENTY-first century the repression of intellectual suffered by his colleague of the SEVENTEENTH century: manipulation, mansplaining, machirulo, patriarchy and sisterhood. At the height of “patriarchy”, Piñeiro took out the phone, came to the microphone and —with his fist in the air and a handkerchief of green surrounding him wrist— left which sounded the song of the marches in favor of abortion law in your country: “Now that we’re together / now we see: / Down with the patriarchy / he’s going to fall!”.
If not patriarchy, for now, that was on the verge of collapse of enthusiasm was in the Auditorium Juan Rulfo. Recovered the silence, the author of Yours, he claimed as “cry proud,” the formula of false humility, used Sor Juana to be done to forgive your free thought: “I, the worst of the world”. “Do what?” added Piñeiro. That famous expression Belugabahis is referred also to the colombian Laura Restrepo, and the Spanish Clara Usón, who the day before had been received in the same room the award of the 2018 by The killer shy(Seix Barral), a book that won the 60 analyzed by the jury. The interventions of other Spanish —Cristina Sánchez-Andrade— placing as brothers to Juana de Asbaje and to Emily Dickinson and other mexican —Cristina Rivera Garza— reading memes kept the tone of struggle without moving away from the literature.
From left, Ana Garcia, Claudia Piñeiro, Clara Usón Margo Glantz, Tatiana Lobo, Cristina Sanchez, Angelina Muñiz-Huberman, Cristina Rivera Garza, and, crouching in the center, Nona Fernández, in the FIL of Guadalajara. Hector Guerrero
Two decades of award-winning
The event lasted almost two hours, in fact, were more than two decades: it had begun in 1993. That year, the FIL hosted a symposium of literary criticism in which the nicaraguan Miracles Palma proposed the creation of an award without prize money, pointing to each November, the best novel published by a writer in the Spanish language.
The first was chosen to be Dulcinea enchanted, Angelina Muñiz-Huberman was born in France in 1936, the daughter of Spanish republicans and exiled from girl in Mexico. Elena Garro Marcela Serrano passing by Almudena Grandes or Marina Perezagua, followed by 23 authors: Rivera Garza has won twice and became a wilderness in 2000.Margo Glantz is the only one that also looks at your resume the big prize of the FIL, the romance languages, awarded a whole career and this year has fallen on the poet uruguayan Ida Vitale. Although Muñiz-Huberman, the dean, maintains that he has felt more discriminated against for being an author “experimental” for being a woman, her companions defended the need for an award like this.
“The writers are more made invisible to the writers. While there is no equal opportunity there is that force,” argues Claudia Piñeiro. “Maybe in a few years is all very even and I don’t need, but still there are no conditions”.
Clara Usón, Critics award in 2012 and winner in 1998 of the missing Female Lumen, is even more vehement: “Our roof is not glass, it’s concrete. You have to go with the drill. In the anglo-saxon world are more advanced, but among us continues to believe that excellence is a thing of men and intimacy, of women. They judge us with more severity.”
Dedicated to rewarding books concrete, the Sor Juana —equipped with 8.800 euros— has as much weight in Latin America and has been setting up a canon of titles essential. The history of the future will have to take that into account. Counted only half, because in “our” of the famous boom there were “ours”, the story of the past served Thursday to close the birthday party.
Asked by the sorjuanas of their respective countries, the “juanitas” —the expression is of Laura Niembro, director of content of the FIL— drew up a list of urgency with 30 authors of the first row. Ana María Matute, Alejandra Pizarnik, Rosario Aguilar, Diamela Eltit, Piedad Bonnett or Harmony Sommers were among the mentioned. Them, the best in the world.
