Diamela Eltit – Two scripts, much discussion

Editor indentation has Two scripts of Diamela Eltit, a book that includes two brief and overwhelming pieces, as a major part of the work of the recent winner of the National Literature award. “La invitación, el instructivo” and “¿Quién vienen con Nelson Torres?” are the two books by Eltit which are exhibited this edition.

La invitación, el instructivo is the first text, adapted as a visual work by Lotty Rosenfeld.

“I wet the bed, I wet being up, I wet in the water.
I do it because I like it.
I like it so much

This beginning is given by a woman without a name, a woman numbered, anonymous, sequenced. Tortured. The Woman 1. The one who does not hold pee and does not want to do it either. She says that the procedures do not leave time. Man 1 tells him that he will never get him to do well with his paperwork. But she insists, “I do not want anyone to dare to say never again that they were not killed.” There is the negationism that has been mentioned so much in recent months in the discussion to legislate or not the denial of crimes against humanity. Eltit wrote the script in the year 2000, then Rosenfeld made the adaptation to audiovisual piece in 2007, and this book was published in 2017. That the text is already “adult” shows that literature is faster than the national reality.

Man 1 recognizes Woman 1 that the barking of dogs does not let him sleep at night, but he has already tired of doing paperwork. And then he says? “They have to go to the food because I gave their names, what else could I do? They took my names from the back of my mouth “says Woman 2. We meet again a woman who lost her name, whose identity was taken from her. The phrase is a sample of the overwhelming poetry that is presented throughout the text of Eltit. They are 90 pages full of meanings that make a reading that could be quick paused. You have to stop, stop to feel the meanings of phrases such as: “I got the names.” And in this way, the sound of the voice that is reading inside the head repeats the phrase repeatedly. The gaze is lost while the mind searches for senses. It is the best way to read. The most enjoyed.

Do you remember what Baradit reminded us about Ingrid Olderock?

This is how they must attend a meal full of officers, obligatorily because Mujer 2 does not tire of giving names. To deliver that sacred thing years ago. They feel betrayed and the dogs do not stop barking. That bothers them, since they are in an uncomfortable place, “something like a warehouse.” There are few things written of precise signifiers, but many of inescapable meanings. Do you remember what Baradit reminded us about Ingrid Olderock? The Woman of the Dogs Do you understand why the barking of dogs at night does not let Man 1 sleep

The strongest argument will happen later, with Woman 3, who accuses them of envying her because she did recognize the dead. That remains for those who read the book

La discusión más fuerte ocurrirá luego, con la Mujer 3, que los acusa de envidiarla porque a ella sí le reconocieron el muerto. Eso queda para quienes lean el libro.

Diamela Eltit (Caras)

Who comes with Nelson Torres? Is the second script that brings this issue.

Fragments Cuts. Projections of words. Voids. “I started sniffing around and I found a bag of neoprene,” says Nelson’s mother. His story is interrupted by other shots, looting, ultrasound and a striptease. It is, from its conception, a script, an audiovisual language text conceived in writing. It is perfectly understood, and what does not manage to appear ends up making sense when viewing the reference frames added at the end of the writing.

“Taking of the feet in the water, bellies of pregnant women, fragments of ultrasounds in strong, violent, intense assembly”

In the same space, the actress Carola Mujica reads quotes from the writer Peter Handke, cryptic references that divide the story of Nelson’s mother. Nelson who have his head in the clouds, there where he sees the Flintstones thanks to the neoprén and its hallucinogenic properties. Yabba dabba doo.

And while the neoprene fills his mind, there is a mother of limited resources who seeks help for the addiction of her son in the public health system. It is not necessary to say anything more to know how the tragic story ends. Cut. Striptease Looting Nelson’s mother. The tragic destiny. A script like Greek drama. The name of Diamela Eltit written in blood red on the cover. Space to think about determinism, about the resistance of Nelson’s mother. Who comes with the addict? Who but the mother?

Two concise scripts, long time of reflections.



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