With tributes planned in Spain, Mexico and their native Uruguay, writers, journalists and artists, remember on the tenth anniversary of their death to Eduardo Galeano (1940-2015), the chronico “counter -hegemonic” who, with an “innovative” and “young” style embodied in a work as read as in force, marked generations and transcended borders.
This is highlighted by the journalist Roberto Lópezwho on April 25 will participate in Madrid, together with the Uruguayan writer Hugo Achugar Already the Professor of Hispanic American Literature Trinidad Barreraof an act of tribute to the author organized by the Uruguay Embassy in Spain and the 21st century publishing house.
That activity, he details, will be “as a continuation” of which he already gathered on Wednesday, April 9 at Casa de América to the Argentine journalist Martín Caparrós And to the Spanish singer -songwriter Joan Manuel Serrat On a round table on the legacy of Galeano, who died in Montevideo, because of the lung cancer he suffered, on April 13, 2015.
While in Barcelona and in Mexico City a commemorative concert and a literary-musical tribute act are scheduled for this Sunday; In Montevideo, the Eduardo Galeano Friends Associationthat he integrates, he made a toast in his honor at the Brazilian café.
“It was a very intimate activity, more than anything for there to be an Eduardo’s presence in Café that was his second home, and before the end of the month we will organize together with other friends a meeting more open to the public,” he explained about the activity in which they started the Mario Benedetti Foundation and the Vivian Trías Foundation.
Author of the book Eduardo Galeano, an illegal in paradiseLópez says that the writer remembered for many fundamentally for his essay The open veins of Latin America “He always had a very fruitful dialogue with previous generations” but also “permanent bridges with emerging authors.”
Chief of Writing of the Emblematic Weekly of the Uruguayan Left March With 20 years, it was by the hand of the short journalistic vignette that Galeano developed the “innovative” style that until today the young people of Latin America see “as a reference point of their readings.”
“We cannot think of Galeano as a novelist or a storyteller, we have to think about it as a chronicler who used the tools of the narrative and poetry -it was a great poetry reader -to tell us the reality,” says López, who identifies Days and nights of love and war as the book “inaugural” of the consolidated style in the trilogy Fire memory.
Influenced by Greek poets Odyssey Elýtis y Constantino CavafisSays López, Galeano found in “the short forms” a key ally for his narrative, in which “he had a particular struggle with the economy of language or say the most using the least” that led him to also venerate the work of the Mexican Juan Rulfoa “teacher” in it.
A long time in a “uncomfortable” author, of “gramscian” and “counterhegemonic” imprint, in its beginnings Galeano had in the leaders of March Carlos Quijano y Juan Carlos Onettiand in the politician Vivian Trías to his three “parents”.
“Onetti was his literary father, Quijano his journalistic father and trías his political father. With those three influences he built himself, not in the sense of man who is done alone but of the person who sifes his sensitivity and intelligence the influences of others,” says López, who recognizes him as part of the generation of 60, “son” of that of the 45 and “older brother” of later.
“He had the sense of not becoming a father of anyone and that also explains his validity,” he argues about the author whose work, emphasizes, addresses problems that such as poverty, “abuse against women” and “discrimination against immigrants” or “the rise of ultra -right”, which makes him an author of “a huge validity.”
Source: EFE
