'What say you to [this] book? Is it yours?'::Oral and Collaborative Narrative Trajectories in the Mediated Writings of Anna Trapnel

This article argues that, when a printed page is initially orally generated and then transcribed, either at the time or on a subsequent occasion by a listener or an interlocutor, there are important critical implications for the “I” of the account. It takes as a case study Anna Trapnel's first published works. Appearing within a few weeks of each other in 1654, The Cry of a Stone and Strange and Wonderful News are both mediated texts, large parts of which depend on the agency of a relater. The article begins by examining the textual traces of the relater, arguing for the centrality of his role and other agencies in the shaping of the works which bear Trapnel's name. Situating itself in relation to a current orientation in feminist autobiographical theory that places emphasis on the external requirement to narrate one's life, rather than on the spontaneous production of autobiography by an inner self, the article emphasizes notions of coaxing, witnessing and intersubjectivity to point up an appreciation of women's life writing as a species of cultural production in which various historical actors—male and female—participate. This dialogic process, which persists into the afterlife of transcription, owes part of its genesis to the political vagaries of 1654 and precipitates two contrasting—but equally “authentic”—versions of Trapnel's life and self. Mapping this movement, discussion concentrates on the ways in which a critical confrontation with women's oral narrative is as much an activity of disentangling as it is of reconstructing, an activity which is revealing of the extent to which a spectrum of social and cultural networks participates in and facilitates the female writing act.

Crossing borders: Space and identity in the essay by Angelina Muñiz

In this study, we establish a relation between the representation of space in Muñiz’s essays and the construction of the essayist’s complex identity which combines Spanish, Jewish and Mexican traits. We concentrate on Angelina Muñiz’s essays Las raíces y las ramas (1993) and El canto del peregrino (1999). Methodologically, we rely on Maingueneau’s concept of ‘scenography’, according to which the text stages its own situation of enunciation. Our starting point is the triple Spanish-Jewish-Mexican identity of the essayist. Our research question is about how the essayist deals with the space corresponding to respectively the Spanish and Mexican part of her identity. Secondly, we analyse the representation in the essays of a space corresponding to her Jewish roots. We find that Muñiz’s vision of space is not static; the essayist’s vision on space is dynamic, open, free and characterized by a constant free movement across national borders. Similar to the concept of space of the ‘diaspora’, her vision is constructed without the limitations imposed by national borderlines or geographical distances.

Del Fichero supremo a la Biblioteca de Babel: Salaverría, precursor de Borges

A juzgar por alguna declaración más bien negativa de Borges sobre la literatura española, se podría creer que esta no influyó demasiado en él. Sin embargo, existen indicios de que pudo haberse inspirado también en determinados escritores españoles coetáneos hoy casi olvidados. Uno de ellos pudo ser José María Salaverría, entre cuyos relatos destaca “El fichero supremo” (1926), del que se ha dicho que “anticipa algunas de las preocupaciones características de un tipo de relato que Jorge Luis Borges elevará años después a la máxima categoría estética”. De hecho, recuerda a “La biblioteca de Babel” (1941) borgiana por su planteamiento hasta el punto de que podría pensarse que el maestro argentino pudo tener presente, a la hora de escribir esa obra maestra, ese cuento de Salaverría, el cual se publicó por primera vez en Caras y Caretas, una revista porteña que Borges reconoció “devorar” en su juventud. Sin embargo, el interés mayor de la comparación entre “El fichero supremo” y “La biblioteca de Babel” no radica tanto en el carácter de posible fuente del primero como en el contraste entre sus formas de presentación narrativa: desde fuera y en tercera persona en Salaverría, en un marco realista; y desde dentro y en primera persona, prácticamente sin marco, en Borges. Este parece desarrollar, en el registro propio de la “imaginación razonada” descrito por él mismo, una virtualidad presente en el relato de Salaverría, cuya comparación con “La biblioteca de Babel” puede suscitar también alguna reflexión sobre el enigma de la identidad y el carácter de la voz enunciadora de la biblioteca universal de Babel. Al menos, esta parece haber hecho realidad en cierto modo, de forma sublime, el patético sueño divino del archivero imaginado por Salaverría.