By Eoin S. Thomson
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Additional info for The Distant Relation: Time and Identity in Spanish American Fiction
Example text
Whenever [love] succeeds in realizing itself, it breaks up a marriage and transforms it into what society does not want it to be: a revelation of two solitary beings who create their own world, a world that rejects society's lies, abolishes time and work, and declares itself to be self-sufficient" (1959, 179-80; 1990, 199-200). Similarly, Julio Cortazar says that "all love goes beyond the couple, if it is love" (Colas 1994, 50), since love is best served by the risk to plunge into obscurity, into the unknown, into the opacity that stretches out between the couple, holding them together in the most radical and creative separation imaginable.
The Cuban novelist Alejo Carpentier marks one moment in the configuration of this absence. What I propose now is an analysis of Carpentier's Los pasos perdidos (The Lost Steps) in which the conjunction between absence and writing emphasizes a number of characteristics that are important to the philosophy of relation articulated here. The protagonist of Carpentier's Los pasos perdidos, a composer and musicologist, reluctantly accepts a museum curator's invitation to travel to the Orinoco in search of rare musical instruments.
However, we are never quite sure just what Lyotard means by opacity or how language opens the opaque as such, that is, as that which cannot be penetrated. Lyotard's arguments therefore need to be accentuated in order to give us a clearer sense of the role language plays in a philosophical task constituted by opacity. Contrary to conventional analyses, the failure or limit of language produces no insights into what structures those limitations and failings. It doesn't seem sufficient to talk about the inadequacy or outright failure of language to represent "reality" without asking what an adequate representation would look like and, further, how we would know that such a representation was in fact adequate.