The origins of Inquisiciones They are in a moment of writing practices, so to call them, from which I understood why the sometimes essayistic tone of my novels seemed as natural as the romantic or fictional breath of certain essays that I began to conceive seven years ago. or eight years.
When detecting that mutual contamination that, as far as I was concerned, was the most natural thing in the world, I realized that, although everything was going to end up in fiction ̶ including my reading models ̶, it was still advisable to do a pause, look around and discover which were those texts that, while still being essays, were about to travel towards the dimension of the intergeneric.
A repertoire like this, focused on the Cuban narrative and what I call the mirage of the text, has at least one personal utility: it is about my essay self in a more or less pure state.
There is another advantage, perhaps the best: they are writings that try to share enthusiasm for certain books, reveal mysteries, follow certain routes and establish a kind of exegetical account of contemporary Cuban narrative.
The mirage of the text is the gradual modeling of the text, an anomalous process that denies the fixity of books. After all – I have pointed it out on several occasions – one does not write about a book, but rather about the image of a book, or a set of transitory, superimposed, evanescent and yet authentic images. One of my ambitions is to intervene, tear apart, and rebuild the conventions of reading.
Today I am fortunate, then, to be able to gather in Inquisiciones some milestones.
The origins of Inquisiciones They are in a moment of writing practices, so to call them, from which I understood why the sometimes essayistic tone of my novels seemed as natural as the romantic or fictional breath of certain essays that I began to conceive seven years ago. or eight years. When detecting that mutual contamination that, as far as I was concerned, was the most natural thing in the world, I realized that, although everything was going to end up in fiction ̶ including my reading models ̶, it was still advisable to do a pause, look around and discover which were those texts that, while still being essays, were about to travel towards the dimension of the intergeneric.
A repertoire like this, focused on the Cuban narrative and what I call the text mirage, has at least one personal utility: it is about my essay self in a more or less pure state. There is another advantage, perhaps the best: they are writings that try to share enthusiasm for certain books, reveal mysteries, follow certain routes and establish a kind of exegetical account of contemporary Cuban narrative.
The mirage of the text is the gradual modeling of the text, an anomalous process that denies the fixity of books. After all – I have pointed out this on several occasions – one does not write about a book, but rather about the image of a book, or a set of transitory, superimposed, evanescent, and yet authentic images. One of my ambitions is to intervene, tear apart, and rebuild the conventions of reading.
Today I am fortunate, then, to be able to gather in Inquisiciones some milestones — references, signs — of my movements, marches and countermarches by my Cuban ancestors, by my contemporaries, by my contemporaries. For books that shaped and deformed me.
For some poetics that I believe in and for others that I could disbelieve right now, without being disrespectful. In short, I am not a professor or an academic. Not even a critic.
Just a writer who, with the desire to persuade, He speaks of others with different degrees of passion, references, signals – of my movements, marches and countermarches by my Cuban ancestors, by my contemporaries, by my contemporaries. For books that shaped and deformed me.
For some poetics that I believe in and for others that I could disbelieve right now, without being disrespectful. In short, I am not a professor or an academic. Not even a critic.
Just a writer who, eager to persuade, speaks of others with varying degrees of passion.
– .
