Gombrowicz-Piñera: Dialogue from Baroque, Avant-Garde and Experimentalism?

Abstract

According to José Bianco, a writer linked to the Sur group, the literature of Piñera, author of Cuentos Fríos, is related to the Cuban baroque of Lezama Lima or Carpentier. Interestingly,Trans-Atlantic Gombrowicz (1953) is formulated from the baroque aesthetic and this affiliation is a way to render readable a heterodox writing as the gombrowicziana since it is a universal feature that is important in those decades at continental level. In this sense, we think that the irregular participation of Piñera in the Orígenes magazine is the access road that, already in Buenos Aires, places Gombrowicz in tune with the relevance of the Baroque during this period. Remember that Piñera presides over the group that carries out the Ferdydurke collective translation company, published in Argentina in 1947. Thus, in the work we propose to address that point of “meeting” or “dialogue” between Piñera and Gombrowicz from examining, in both authors, mutual loans and appropriations, the presence of baroque, avant-garde gestures and eccentricity, absurdity and humor.