By Pamela Finnegan
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Extra info for The tension of paradox: José Donoso's The obscene bird of night as spiritual exercises
Sample text
The uniqueness we bring to the House of Spiritual Exercises estranges us from each other, giving rise to multiple interpretations of the text and the act of experiencing it. " His manuscript is our book, reminding us that his text represents the meeting point of' the sacred and the secular, of the parabolic and the parodic, of apocalypse and entropy. We fellow language-users must silently receive the text then linguistically conceive its parable. Even though the language of spiritual exercises separates us from each other and from the world, it unites us with its own source, the ordering nature of language.
More specifically, as an author Donoso was the continuer of the great Chilean social novel (Quinteros 1978: 62; Achugar 1979: 71). The publication of The Obscene Bird of Night was a troublesome event in Latin American literary history as the novel presented a seemingly radical change -xi- from Donoso's previous prose output. Even though the final scene in Coronación was "grotesque" in relation to its own context (Goic 1975: 45-57), even though Este domingo evinced a tentative experimentation with perspective that made readers feel "ambiguous" as to "where the author stood" (Achugar 1979: 109), and even though El lugar sin limites was a play on the word travestismo (Sarduy 1969: 43-48), El obsceno pájaro de la noche was perceived as drastically diverging from the relatively complacent prose of its author's prior works (Quinteros 1978: 193).
272). There is no "outside" with which to decipher the meaning of the text. Therefore, the "I" points only to itself, making literature and the written word the principal themes of the novel (p. 284). " Discourse has become "an action and an end in itself rather than a means" (Magnarelli 1977: 419). Structuralist observations conclude that the signified does not depend on the semantic content of the signifier but rather on the latter's referential value. ) (Siles 1972: 176). John Lipski suggests that the text of The Obscene Bird of Night is characteristic of certain modern Latin American novelists who "portray in the (syntagmatic) text itself events or segments representing more than a single point of the paradigm at a given syntagmatic moment.