{"id":861,"date":"2024-05-18T21:00:27","date_gmt":"2024-05-19T01:00:27","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/?p=861"},"modified":"2024-10-15T16:55:13","modified_gmt":"2024-10-15T20:55:13","slug":"otras-ciudades-claudia-hernandez","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/country\/el-salvador\/otras-ciudades-claudia-hernandez\/","title":{"rendered":"Otras ciudades"},"content":{"rendered":"

\u00a0 \u00a0 \u00a0En una <\/span>entrevista con el Stone Center for Latin American Studies<\/span><\/a>, Claudia Hern\u00e1ndez revel\u00f3 que <\/span>Otras Ciudades<\/span><\/i>, una colecci\u00f3n de catorce cuentos, surgi\u00f3 de una iniciativa humilde pero impactante. Ella escribi\u00f3 estos cuentos para un grupo dedicado a proporcionar libros a estudiantes universitarios que no pod\u00edan costearlos. La intenci\u00f3n de Hern\u00e1ndez era abordar las preocupaciones prevalentes en el momento de escribir, alrededor del 2001<\/span>, en la<\/span> posguerra en El Salvador. La ciudad, como afirma Hern\u00e1ndez, sirve tanto de musa como de tel\u00f3n de fondo para su narrativa. Cada cuento encapsula las incertidumbres colectivas de la comunidad. Al adentrarse en su obra, los lectores obtienen una visi\u00f3n de la profunda comprensi\u00f3n de la autora de las din\u00e1micas sociales y su habilidad para traducir las experiencias comunitarias en narrativas convincentes. Las historias de Hern\u00e1ndez no solo reflejan las ansiedades de una ciudad en posguerra, sino que resuenan con temas universales, invitando a los lectores a explorar las complejidades de la emoci\u00f3n humana y la resistencia.<\/span>\u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0Todos los cuentos est\u00e1n escritos en tercera persona. Sin embargo, la forma en que est\u00e1n narrados hace que los cuentos parezcan estar escritos en primera persona, como si estuvi\u00e9ramos dentro de los diferentes personajes. Parte de la raz\u00f3n se debe a la falta de estructura de las oraciones, lo que crea un flujo de pensamientos dentro de cada historia. Esto a<\/span>\u00f1ade una capa de intimidad y cercan\u00eda entre el lector y los personajes. Es como si el lector estuviera dentro de la cabeza de cada personaje, experimentando sus emociones y pensamientos de manera directa y v\u00edvida. <\/span>\u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0Por ejemplo,\u201cEmpleo Temporal\u201d se trata de alguien que le ha pagado a otra persona para que mate a otro. \u201cNo entrometerse, no ver, esperar, en veinte minutos habr\u00e1n cesado de respirar y debe tomar el tel\u00e9fono con guantes y llamar a la polic\u00eda\u2026\u201d Esta oraci\u00f3n es parte de una secuencia que sumerge al lector en la mente del asesino con un realismo crudo, mientras este se sume en una abrumadora reflexi\u00f3n sobre la moralidad de sus acciones. La falta de puntuaci\u00f3n y la estructura suelta de las oraciones reflejan su ca\u00f3tico estado mental, creando un flujo continuo de pensamientos que revela su conflicto interno.<\/span>\u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0De manera similar, \u201cColor del Oto\u00f1o\u201d es el segundo cuento de esta colecci\u00f3n y contiene diez partes. Pesea a su divisi\u00f3n en secciones, en t\u00e9rminos de oraciones carece de una estructura fija. Este cuento trata de una epidemia de suicidios de \u201cMargaritas\u201d. Cada parte comparte diferentes puntos de vista de los personajes, pero es dif\u00edcil saber qui\u00e9n est\u00e1 narrando exactamente o desde qu\u00e9 punto de vista, ya que no hay nombres, aunque es evidente que cada secci\u00f3n corresponde a una perspectiva diferente. \u201cLlamamos a la puerta, pedimos hablar con ella, verla, pero no quiso recibirnos\u201d es un ejemplo de la estructura de la oraci\u00f3n que ilustra esta t\u00e9cnica.<\/span>\u00a0<\/span><\/p>\n

\u00a0 \u00a0 Hern\u00e1ndez deja que las historias fluyan de manera natural, como si las narrasen en tiempo real por los personajes. Esta fluidez contribuye a la autenticidad de las experiencias narradas y hace que las historias sean a\u00fan m\u00e1s impactantes y resonantes para el lector. Adem\u00e1s, esta estructura tambi\u00e9n hace que la lectura sea r\u00e1pida debido a su fluidez y capacidad para cautivar al lector. Sin embargo, debido a esta falta de puntuaci\u00f3n, a veces puede resultar complicado saber qui\u00e9n est\u00e1 hablando, detalle que a\u00f1ade encanto al ritmo vertiginoso del pensamiento y sumerge al lector a\u00fan m\u00e1s en la experiencia narrativa, invit\u00e1ndolo a interpretar y sumergirse en el mundo interior de los personajes. <\/span>\u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0Cuando le preguntaron sobre la estructura de sus cuentos en la misma entrevista, Hern\u00e1ndez comparti\u00f3,<\/span> \u201cY eso que t\u00fa llamas falta de signos de puntuaci\u00f3n es la gente interrumpi\u00e9ndose mientras est\u00e1n hablando y lo que a veces se puede percibir como una como un cambio de direcci\u00f3n es el mismo temor hablando. Cuando el temor est\u00e1 en acci\u00f3n evade muchas, muchas de las reglas gramaticales. <\/span>Es un m\u00e9todo de supervivencia.\u201d\u00a0<\/span>\u00a0<\/span><\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 In an <\/span><\/span>interview with the Stone Center for Latin American Studies<\/span><\/span><\/a>,<\/span><\/span><\/span>\u00a0Claudia Hern\u00e1ndez revealed that Otras Ciudades<\/em>, a collection of fourteen short stories, emerged from a humble but impactful initiative. She wrote these stories for a group dedicated to providing books to university students who couldn’t afford them. Hern\u00e1ndez intended to address the prevailing concerns at the time of writing, around 2001, in the post-war period in El Salvador. The city, as Hern\u00e1ndez states, serves both as a muse and a backdrop for her narrative. Each story encapsulates the collective uncertainties of the community. By delving into her work, readers gain insight into the author’s deep understanding of social dynamics and her ability to translate community experiences into compelling narratives. Hern\u00e1ndez’s stories not only reflect the anxieties of a city in the post-war period but also resonate with universal themes, inviting readers to explore the complexities of human emotion and resilience.<\/p>\n

All the stories are written in the third person. However, the way they are narrated makes the stories feel as if they are written in the first person, as if we are inside the different characters. Part of the reason is the lack of sentence structure, which creates a flow of thoughts within each story. This adds a layer of intimacy and closeness between the reader and the characters. It is as if the reader is inside each character’s head, experiencing their emotions and thoughts directly and vividly.<\/p>\n

For example, “Empleo Temporal” is about someone who has paid another person to kill someone else. “Do not interfere, do not see, wait, in twenty minutes they will have stopped breathing and you must take the phone with gloves and call the police…” This sentence is part of a sequence that immerses the reader in the mind of the killer with raw realism, as he engages in an overwhelming reflection on the morality of his actions. The lack of punctuation and loose sentence structure reflect his chaotic mental state, creating a continuous flow of thoughts that reveal his internal conflict.<\/p>\n

Similarly, “Color del Oto\u00f1o” is the second story in this collection and contains ten parts. Despite its division into sections, in terms of sentences, it lacks a fixed structure. This story is about an epidemic of suicides among “Margaritas.” Each part shares different characters’ points of view, but it is difficult to know exactly who is narrating or from which perspective, as there are no names, although it is evident that each section corresponds to a different perspective. “We knocked on the door, asked to speak with her, to see her, but she didn’t want to receive us” is an example of the sentence structure that illustrates this technique.<\/p>\n

Hern\u00e1ndez allows the stories to flow naturally, as if narrated in real-time by the characters. This fluidity contributes to the authenticity of the narrated experiences and makes the stories even more impactful and resonant for the reader. Moreover, this structure also makes the reading swift due to its fluidity and ability to captivate the reader. However, due to this lack of punctuation, it can sometimes be difficult to know who is speaking, a detail that adds charm to the fast-paced flow of thought and immerses the reader even more in the narrative experience, inviting them to interpret and delve into the characters’ inner world.<\/p>\n

When asked about the structure of her stories in the same interview, Hern\u00e1ndez shared, “And what you call a lack of punctuation marks is people interrupting each other while they are talking, and what can sometimes be perceived as a change in direction is the same fear speaking. When fear is in action, it evades many, many grammatical rules. It is a survival method.”<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 \u00a0 \u00a0En una entrevista con el Stone Center for Latin American Studies, Claudia Hern\u00e1ndez revel\u00f3 que Otras Ciudades, una colecci\u00f3n de catorce cuentos, surgi\u00f3 de una iniciativa humilde pero impactante. Ella escribi\u00f3 estos cuentos para un grupo dedicado a… Continue Reading →<\/a><\/p>\n","protected":false},"author":1785,"featured_media":866,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26,10,80,19],"tags":[],"class_list":["post-861","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-claudia-hernandez-gonzalez","category-el-salvador","category-otras-ciudades","category-obras"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/861","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/users\/1785"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/comments?post=861"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/861\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/media\/866"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/media?parent=861"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/categories?post=861"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/tags?post=861"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}