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11,50 €
Pages: 156
Dimensions: 15 x 21 cm
In color: No
Rustic: Yes


La Carreta is an invention through and through. There are or could be atmospheres; but everything is as passed through a star, through another prism; mine. There is no artist, in my view, if he does not recreate or simply CREATE. Having the fortune of having come across some weirdos is not the work of a writer; it is more like a philatelist, botanist or entomologist work. I think that the rat that crosses the beam of an isba in a narrative by Fedor Dostoevsky is a rat of Don Fedor, nothing more and nothing less than his. La carreta (1932) is a novel that has been created and republished with substantial variations over almost thirty years. Between 1923, date of publication of the first story, «Las quitanderas», which gave rise to it, and 1952, when the 6th edition of the novel is published, considered by the author as the definitive one, Amorim adds and modifies the order of the chapters and, above all, he elaborates a «romantic growth» and underlines the importance of the «bond concept» of the cart as a symbol and common thread of the narrative. This sustained and complex relationship between Amorim and a text that was never "finished", but which he considered his "favorite work", gives La carreta an interesting genetic value, both because of its nature as a true work in progress , as well as the evolution from an initial genre -the story- to another -the novel- in which the various editorial materials that compose it merge. By narrating the story of a group of prostitutes traveling in a cart through the fields of northwestern Uruguay to "form peons and troperos" in towns and estancias, Amorim addressed an unprecedented theme in the Latin American narrative, which would later be addressed by others. writers such as Alejo Carpentier, Gabriel García Márquez, Mario Vargas Llosa and José Donoso. Despite the fact that the realism with which he described them fueled a socio-historical and linguistic polemic about the existence of these transhumant prostitutes, Amorim always maintained that these "missionaries of love" had been a "discovery of his own imagination." From the story included in Amorim (1923), later developed in a second version in Tangarupá (1925) and finally novelized in La carreta ( 1932), the "quitanderas" became part of an archetypal "reality" that only literature is capable of forging. Suffice it to remember that Pedro Figari represented them in a series of paintings that, when exhibited in Paris, fueled the misunderstanding about the existence of these tottering carts traveling through the lonely Uruguayan fields, to the point that a French writer Adolphe Falgairolle wrote a nouvelle , La quitandera , inspired by the homonymous work of the Salta author. But beyond the anecdote and verisimilitude of its characters, La carreta reflects a panorama of desolate cruelty, misery and grief, of a rural world polarized between ranchers and peons, arrogant authoritarianism and unjust abuses, sad reality with no other relief than brutal drunkenness or possessions on the edge of animality. However, and despite the geographical and social determinism that condition it, Amorim does not succumb to the naturalism of dark notes or to the decadence of a vindictive realism to which the theme and the time invited him.


Enrique Amorim was born in Salto (Uruguay). His parents were wealthy ranchers. His father was of Portuguese descent, while his mother was of Basque descent. Amorim traveled extensively in Europe and Latin America, meeting many literary personalities. Finally, he settled in Salto, in a house designed by himself based on the principles of Le Corbusier. During the 1920s, Amorim wrote for the leftist magazine Los Pensadores and published with the Claridad press. Both the magazine and the printing press were associated with the leftist group Boedo. In 1947, Amorim joined the Communist Party of Uruguay. His novels include: Eva Burgos (1960); Fake Fair (1952); The murderer unveiled (1946); The moon was made of water (1944); The horse and his shadow (1941); The uneven age (1938); El paisano Aguilar (1934); The cart (1929).


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