euskal etnizitate berria: denok gara etorkinak, denok gara migrazio subalternoaren ondorio
Nire Before Babel: A History of Basque Literatures amaitutakoan, oraindik ere gogoeta garrantzitsu bat erantsi behar niola konturatu nintzen. Liburuan diot, euskal literatura bi tradizio diskurtsiboren, bi literaturen, talka diglosiko eta oprimatzaileren historia eta ondorio dela. Alde batetik, klase subalternoek tradizionalki euskaraz, eta batikbat ahoz, bilakatu duten tradizioa dugu eta, bestetik, klase elitekoek eta aristokratikoek Euskal Herriaz erdaraz idatzi dutena, zeinak euskara izan duen oinarri eta erreferentzia, ezaugarri diferentzial nagusi bezala, eta, beti ere, eliteen interesak bertan eta Gaztela/Aragoi/Madrilgo korteetan zilegitzeko balio izan duen ("el oasis vasco" eta "la nacion foral" dira bere azken formulazio garaikideak). Eleizak eta euskalgintza militanteak ere euskaraz idatzi du, baina diskurtso honek, dena den, ez du euskararen estatus subalternoa erabakiorki aldatu. Euskal literaturaren historia, eta orokorkiago "euskal identitate/nortasunaren" historia, zeina euskal literaturaren materia errotikakoena eta oinarrizkoena den, bi literatura/diskurtso/kultura hauen artean mendetan eratu den egitura diglosiko eta zapaltzailearen kronika da. Euskal literatura borroka eta zapalketa horren historia eta lekukoa da. Horregatik, euskal literatura "euskaraz idatzitako literatura" izatera mugatzeak zapalketa hori ezkutatu eta desitxuratu egiten du. Eliteen literatura/diskurtso zapaltzaile erdalduna ere barneratu eta inkluitu behar da euskal literaturan, zapalketa soziala literaturaren historiaren ardatz bihurtu dadin. Abiapuntu hau kontutan hartuta, eta hasieran esan bezala, gure etnizitateaz gogoeta garrantzitsu bat erantsi behar diot Before Babel-i. Izan ere, XIX. mendean hasita, eta gero 1960ko hamarkadan, euskal langileria berria dena da etorkina: Andaluziatik, Galiziatik, Estremaduratik, eta abar, etorria. Izan ere elite burges euskaldunek Madrilgo gobernuaren konplizitatez, Espainikao nekazari pobre eta gosetuak Euskal Herrira etortzera bultzatuko ditu (Kataluniarekin batera). Etorkin talde hau da euskal nortasun moderno eta subalternoaren beste ardatza; ezin dugu enoratu. Orain artean, "gazteleraz mintzatzen ziren kanpoko etorkinak" bezala deskribatu dugu talde hau eta euskal langileriaren borrokan onartu baditugu ere, anaia eta arreba bezala, kulturaren ekarpenera eta, orokorkiago, euskal gizartearen diskurtsura pasatakoan, talde hau mututu egin dugu, ez dugu kontatu hartu. Oraindik ere eliteen euskal jatorriaren diskurtsuak itsutu gaitu: euskara da gure historiaren lekukorik zaharrena, diferente egiten gaituena, nortasun bat ematen diguna, eskubideak ematen dizkiguna, Espainiako biztanle jatorrizkoak garela frogatzen duena, eta beraz la hidalguia universal, los fueros eta abar zilegitzen duena. Lehen begiratu batean, ez dirudi goiko kontraesana erraz konpon daitekeenik. Baina, neure esperientziatik abiatuta, uste dut gure nortasun/etnizitate/jatorria birdefinitzeko garaia iritsi dela, izan ere, neu ere nekazari pobreren seme naizen aldetik, Gipuzkoan bertan izan bada ere, biografia etorkon bat dut. Alegia, nire gurasoak Bergaratik atera, lanik gabe, eta Orbegozo fabrikari segika, langile industrial bezala (aita langile, ama etxekoandre) lehenengo Urretxura joan ziren eta gero Errenteriara. Mugimendu honek hasieran "naturala" eta "euskalduna" dirudi, izan ere Euskal Herri barruan gertatutakoa da. Dena den, esperientziaz dakit, mugimendu hau traumatikoa izan zela gurasoentzat (eta neuretzat) eta etorkinen esperientzia klasikoa adierazten duela (Errenterian topatu nituen lehen aldiz euskal burgesiaren seme-alabak ikastolan). Orokorkiago, XIX. mendean hasi eta baserria utzi eta kalera, Ameriketara edo beste nonbaitera atera behar izan zuen euskal nekazal saldo subalternoaren historia ere etorkinaren, migratzailearen, historia da (neskameak, artzainak, langile industrialak....). Alegia, eta lekukoak ugari dira, baserritik kalera jaistea ere migrazio traumatiko eta behartu baten kronika da.(1) Eta uste dut, hemen jarri behar dugula gure etnizitatearen eta nortasunaren jatorria: gurea migrazio bortxatuaren historia da. Denok gara (eliteak kenduta) migrazio kronika baten seme-alabak. Batzuok Estremaduratik etorri dira, beste batzuok Gipuzkoako mendi puntetako baserrietatik, baina denok gara migrazio formaren baten emaitza. Gertakizun traumatiko horrek definitzen gaitu. Jada, Garan esan nuen (2) gaztelera subalterno migratzailea ere euskalki bat dela, euskal hizkera bat, eta hala erreibindikatu behar dela. Etorkin horien lekukoa ez du ia inork jaso eta, hil baino lehen, beren historiak jaso behar dira. Jon Maiak belodromoan 2016an egin zuen bertso/performantze elebiduna (ez nahikoa elebiduna nire iritziz) eta harrez gero argitatu duen liburua, Berriak jaio ginen (2017), gure etnizitate migratzailearen adierazpenik argienetako bat da. Are gehiago, neoliberalismoak eta 2008ko krisiak berriro ere tradizio migratzaile bortxatu hau martxan jarri du eta oraingoz gehiengoak beren buruak salbu daudela penstatzen badu ere, guztiok migratzaile bortxatu bihurtzeko arriskuan gaudela onartu behar dugu. Azkenik honek esan nahi du esukara ez dela normalizatzen ari eta subalterno izaten segitzen duela. Interbinde bakarra euskaldun/basko guztiek euskara jakin beharraren (ez erabiltzearen) normatiba pasatzea da. Kanada eta frantsesa eredu onak dira. (1) Hau baieztatu beharreko hipotesi bezala botatzen dut. Emakumeentzat ere, baserriko lana gogorra bazen ere, kalera eta pisu/apartamentu txikitara joateak beste trauma batzuk ekarri zituen: emakume sare baserritar zabalagoak utzi eta etxekoandre bakartiago eta deskonektatuagoa (familia nuklearra) bihurtzea. (2) https://www.naiz.eus/en/hemeroteca/gara/editions/2017-07-23/hemeroteca_articles/euskal-politika-gehien-definitzen-duena-bere-irrazionaltasuna-da the lingering ghost of postmodernism
The orthodox left (and right) has, since the 1980s, launched attacks against a ghost that has no clear reality; is a moving target; and is reshaped negatively, so that it remains a coherent and "attackable" object: postmodernism, postmodern theory, poststructuralism, which is equated with French theorists such as Foucault and Derrida. Even in the Basque Country I have become part of the postmodern ghostly cluster and have been attacked by the orthodox nationalist left. So, let us begin with a short reflection. The main accusation against postmodernism is that is anti-modern, irrational, anti-universal and, therefore, has enabled the expansion and consolidation of neoliberal ideology and late capitalism, for it has taken down the only discourse that could fight it: rational modernity. Postmodernism is the culprit of the irrationality-postruth-authoritarianism unleashed by neoliberalism. The supposed irrationality is the first ghostly feature that must be analyzed. According to this accusation, postmarxist Lacanian theory should also be denounced as postmodernism: Zizek, Badiou, etc. But ironically enough, even these two authors use the ghost of postmodernism to attack what they think is American multiculturalism. The second accusation, that of anti-universalism, faces a very real situation for which it does not have an answer: feminism, postcolonialism, and ecology (just to name three), refuse to be assimilated into a single discourse of universalism, for good reason: universalism is always a particular, and the first globally imposed form of universalism was North-American-European imperialism. Therefore, to attack the "ghost" of what the orthodox left assumes to be postmodernism as a negation of universalism, requires to be anti-feminist, racist, etc. The final conclusion is that, had the "ghost"of postmodernism not risen, had we continued with North-American-European modernity, the expansion of neoliberal ideology and late capitalism would have been greater, more universal, and would have created a greater "postmodern" backlash against neoliberal globalization. In short, and this is the Borgesian and innovative part of my analysis, the orthodox left would have become the great new creator and defender of a "postmodernism" of their own. jemisin's apocalyptic imagination
Amazing trilogy that requires serious analysis. But the first claim is that our time is postapocalyptic, it has to be written in the future perfect tense: we will have lived. We already are in Jemisin's time. Everything we do in the present is defined and conditioned by an inevitable ecological catastrophe that capitalism has unleashed and is incapable to stop (and no amount of voluntarism or politics will fix). The most compelling aspect of the trilogy is time itself: the initial catastrophe unleashed by the Syl Anagist tens of thousands of years ago is followed by several new catastrophic periods, known as Seasons, which interrupt the normal cycle of life, and push many communities and civilizations to extreme survival and, many times, to the brink of extinction. The other interesting aspect of the novel is how literally the entropic scene is represented. Most geological aspects of the planet are controlled by characters known as Origins. They are born by genetic mutation randomly. However, the power to control the geology of the planet is feared by the rest of the population and, so, the Origins are enslaved. Therefore, Jameson's representation of slavery, not by biological difference but by random genetic mutation, makes slavery a universal category. Slavery can happen to anyone. Therefore, in the novel, there is a very unprecedented combination of slavery, secrecy, non-biological randomness, and power. Although humans created the first catastrophe in their pursuit for an endless source of energy, their attempt triggers the subsequent Seasons or ecological apocalypses. The origins do not have the power to fix these catastrophes; they can only prevent them from happening more often. Only Nassan can. She loses three (step) fathers along the way, and finally her mother. In short, it is this seamless combination of slavery, literal Anthropocene, and post-apocalypse spanning close to 40,000 years, which makes the novel such an interesting and informative piece of literature. What is the most disappointing part of the trilogy is the end. After so many cataclysms, the hero, a little girl known as Nassun, manages to restore the Earth to its pre-apocalyptic balance. I know the end is utopian, but it undoes the temporal richness of the trilogy. At the end of the third novel, we are back to a restored Earth where humans can restart from scratch, as if nothing had happened. The true apocalypse of this trilogy, the true catastrophe of the imagination, is precisely this disappointing restoration, so that we can ignore global warming, the Anthropocene, and the incoming apocalypse: we will be alright¡ capitalism's ecological damage will be fixed¡ In this sense, the end of the trilogy is very "American" in its most ideological sense: it is the melodrama of manifest destiny in a post-apocalyptic version. America will fix the world. isaac rosa: feliz final (an emotional archaeology of hetero limits and boredom)
Feliz Final (2018), Isaac Rosa has managed to pull a very interesting narrative feat that reminds me of Pierre Menard and is also the way history should be taught. He has told the story of a heterosexual middle class romance backwards: from the present divorce filings to the moment they met. What is most commendable is the effort to write the story of a regular couple hit by the recession, without any idealization. He even has tried to to bring to the periphery of the narrative political problems of the present: from refugees crossing the Mediterranean sea to the historical memory of the husband's grandmother or feminist debates across different generations of women. The use of two different fonts allows him to bring the voices of the two protagonists without an artificial "he said" "she said" quotational system. Yet, I believe that the main success, the most interesting result, of the novel is unintended: it shows how boring, how predictable, how mechanical, how scripted is the inner life of a couple. Not because the text is boring, but rather the opposite, because the text masterfully exhausts most of the possible scenarios of the life of the precarized middle class, without sounding the panic alarm against neoliberalism. This Foucaultean archaeology of European middle-class heterosexual romance is also its most successful indictment. It is also a monument to the way couple life depoliticizes even an author who is really trying to politicize it. 2005 aurrekoak
1985 Hamaseigarrenean aidanez (1985, Lertxundi, Andu, 1985, film ertaina) 1986 Ehun metro (Hungría, Alfonso, 1986, film ertaina) Zergatik panpox (Elorriaga, Xabier, 1986, film ertaina) 1989 Ke arteko egunak (Antxon Ezeiza, 1989) 1992 Offeko maitasuna (Izagirre, Koldo, 1992) 1993 Urte ilunak (Lazkano, Arantxa, 1993) 2005-ez geroko luzemetraiak bakarrik. Animazioa ez dut kontutan hartu. Beñat Doxandabaratz Otaegi-ren zerrenda batetik abiatuta. Ataun of the Dead sartu dut, luzemetraiak ez badira ere, trilogia bezala film baten luzera dutelako. 2005 Aupa Etxebeste! (Altuna, Asier and Telmo Esnal, 2005) 2006 Kutsidazu bidea Ixabel (Bernués, Fernando and Mireia Gabilondo; 2006) 2009 Ander (Castón, Roberto; 2009) Zorion perfektua (Elortegi, Jabier, 2009) Sukalde Kontuak (Goenaga, Aitzpea, 2009) 2010 80 egunean (Garaño, Jon and Jose Mari Goenaga, 2010) Izarren argia (Rueda, Mikel, 2010) Zigortzaileak (Ibarra, Arantza, 2010) 2011 Arriya (Gorritiberea, Alberto J., 2011) Urte berri on, amona! (Esnal, Telmo, 2011) Bi anai (Rayo, Imanol 2011) Mugaldekoak (Bernués. Fernando and Mireia Gabilondo, 2011) Ataun of the Dead (Iturrioz, Beñat and Xabier Padin, 2011) 2012 Dragoi ehiztaria (Barko, Patxi, 2012) Bypass (Telleria, Patxo and Aitor Mazo, 2012) Baztan (Elizalde, Iñaki, 2012) Xora (Cachenaut, Peio, 2012) 2013 Amaren Eskuak (Gabilondo, Mireia, 2013) 2014 Loreak (Garaño, Jon and Jose Mari Goenaga, 2014) Lasa eta Zabala (Malo, Pablo, 2014) Joxean´s Hil Eben (Ataun of the Dead trilogy, Iturrioz, Beñat and Xabier Padin, 2019) 2015 Amama (Altuna, Asier, 2015) 2016 Igelak (Telleria, Patxo, 2016) 2017 Handia (Arregi, Aitor and Jon Garaño, 2017) 2018 Oreina (Almandoz, Koldo, 2018) Errementari (Urkijo, Paul, 2018) Dantza (Telmo Esnal, 2018) Soinujolearen semea (Fernando Bernués, 2018) 2019 Agur Etxebeste! (Esnal, Telmo and Asier Altuna, 2019) Napardeath (Ataun of the Dead trilogy, Irazu, Jaione, Oskarbi Sein and Beñat Iturrioz, 2019) 2020 Erlauntza (Gabilondo, Mireia, 2020) this blog has been deleted as it will appear in a forthcoming book entitled España postimperial: aproximaciones a la persistencia del imperio restaurativo.
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AuthorJoseba Gabilondo. Publications Archives
April 2023
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