{"id":168271,"date":"2024-08-09T10:00:56","date_gmt":"2024-08-09T14:00:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=168271"},"modified":"2024-08-07T14:00:26","modified_gmt":"2024-08-07T18:00:26","slug":"on-fogwill","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/08\/09\/on-fogwill\/","title":{"rendered":"On Fogwill"},"content":{"rendered":"<div id=\"attachment_168281\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-168281\" class=\"size-full wp-image-168281\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/08\/1024px-night-train-motion-blur.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/08\/1024px-night-train-motion-blur.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/08\/1024px-night-train-motion-blur-300x225.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/08\/1024px-night-train-motion-blur-768x576.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-168281\" class=\"wp-caption-text\">Photograph by TBIT, via <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Night_train_%E2%80%A2_motion_blur.jpg\">Wikimedia Commons<\/a>. Licensed under <a href=\"https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/deed.en\">CC0 1.0<\/a>.<\/p><\/div>\n<p>Rodolfo Enrique Fogwill \u201clearned to use a gun at eleven, got his first motorcycle at twelve, his first sailboat at fifteen, started studying medicine at sixteen, by twenty-three he was a sociologist, by thirty-eight a millionaire adman, and by forty he was broke,\u201d the Argentine journalist Leila Guerriero once wrote. Fogwill was born outside Buenos Aires in 1941 and lived until 2010; as Guerriero illustrates, he was precocious as a young man, but it wasn\u2019t until 1980, at the age of thirty-nine, after he\u2019d lost the fortune he made in advertising, that his story \u201cMuchacha Punk\u201d won a prestigious writing contest and his literary career took off. In 1982, he wrote his most famous novel, <em>Los pichiciegos<\/em>. Set during the Falklands War and published while the conflict was ongoing, this sardonic exploration of the absurdities of war, a kind of <em>Slaughterhouse-Five<\/em> for Argentina, was an immediate sensation, and it cemented Fogwill as a touchstone for the literary resistance to the military dictatorship. A writer of short stories, novels, poems, and cultural criticism, he went on to publish more than twenty books across a thirty-year career.<\/p>\n<p>Drawing on his background in advertising, Fogwill cultivated an iconoclastic public persona and turned his surname\u2014Fogwill, just so, like Prince or Madonna\u2014into a brand. He pursued controversy and manufactured scandal, relentlessly excoriating the sanctimony of the institutional and cultural elite. He wrote high-profile columns attacking and satirizing both the military dictatorship and what he called the \u201chorror show\u201d of Argentina\u2019s transition to a neoliberal democracy. Described by contemporaries as \u201ca holy terror,\u201d with an \u201calmost alien intelligence,\u201d Fogwill\u2019s exhibitionism belied, as Francisco Garamona writes, \u201can unassailable body of work, an idea, an inimitable way of being, and above all, an ethics.\u201d Known as a generous friend and mentor, he guided younger writers and helped launch the careers of figures as notable as Osvaldo Lamborghini and C\u00e9sar Aira.<\/p>\n<p><!--more--><\/p>\n<p>Like his persona, Fogwill\u2019s writing is provocative and irreverent. He absorbed the different strands of the Argentine tradition and produced a literature that defies classification: a literature of ideas and the body, the political and the personal, the ordinary and the ineffable. Nimbly traversing form and genre, he employs myriad styles while maintaining a singular and inimitable sensibility.<\/p>\n<p>Nowhere is this gift more apparent than in his short stories, which range from metafictional parody to drug-fueled delirium, from realism to political satire to forays into genre, from hedonistic escapades to deeply personal explorations of music and art. Despite their density of thought and narrative complexity, his stories are never a slog. At times his prose is euphoric and propulsive; at others, subtle and restrained. Fogwill is interested in the manipulations of social, political, and economic constructs; in the fraught relationship between words and things, between meaning and experience; in the body, the sensorium, and desire; in altered states, dreams, and memory. Humorous and unsettling, acerbic and contemplative, his stories explore the randomness of life and the ways in which meaning rises out of incoherence, revealing itself in flashes, in fragments, in ephemeral moments.<\/p>\n<p>\u201cMuchacha Punk,\u201d the story that launched Fogwill\u2019s literary career, is ostensibly the picaresque tale of the one-night stand an Argentine traveler has with a British \u201cpunk girl.\u201d \u201cWhat\u2019s interesting about this story,\u201d the protagonist states at the outset, \u201cis \u2018I slept with\u2019 the punk girl.\u201d And on the surface, that is essentially the plot: a chance encounter on a cold winter night in London, a mutual attraction, an amorous adventure. But what unfolds on the page is far more intricate, evolving into a story that deconstructs itself as it is being written, a story about class and the politics of language, about cultural collision and historical contingency where, against the backdrop of a brewing conflict between Argentina and the UK, a night in the life of one man brings the zeitgeist of a decade into focus.<\/p>\n<p>In \u201cHelp a \u00e9l,\u201d his parodic homage and anagrammatic inversion of Borges\u2019s canonical \u201cEl Aleph,\u201d Fogwill reframes the encounter with the fantastical, all-seeing orb of Borges as a psychotropic and erotic episode. While both stories are, ultimately, about loss, about the death of a beloved, \u201cHelp a \u00e9l\u201d manages to bring the cerebral Borgesian experience into the realm of the corporeal and libidinal. Where Borges\u2019s \u201cinstrument\u201d allows his protagonist to gain access to the infinite and to thereby hear again the \u201cirretrievable voice\u201d of his lost love, the \u201csyrup\u201d that Fogwill\u2019s protagonist imbibes actuates an intensely lubricious reunion where hallucination, oneiric fantasy, and memory meld together. Like Borges, Fogwill layers in metafictional references; like Borges, Fogwill pokes fun at the figure of the writer and the literary endeavor, but by making transcendence less a matter of knowledge, by taking it out of the library and the labyrinth and grounding it in bodily pleasure, he brings the Borgesian\u2014and by extension, the Argentine\u2014tradition into conversation with a more contemporary cosmology.<\/p>\n<p>Stories like \u201cJapon\u00e9s\u201d and \u201cPassengers on the Night Train\u201d showcase Fogwill\u2019s chameleonic virtuosity, how he could adapt and eschew genre conventions to create taut, suspenseful narratives while maintaining his poet\u2019s attention to language, his wry humor, and his ludic sensibility. In \u201cJapon\u00e9s,\u201d Fogwill\u2019s hypnotic prose and detailed knowledge of sailing create an immediacy that put the reader aboard the boat where the narrative takes place, setting up a turn that comes out of nowhere and transforms a tale of adventure and camaraderie into something like a ghost story. \u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/8304\/passengers-on-the-night-train-rodolfo-enrique-fogwill\">Passengers on the Night Train<\/a>,\u201d which appears in the <a href=\"https:\/\/www.theparisreview.org\/back-issues\/248\">new Summer issue<\/a> of the <em>Review<\/em>, is a ghost story of a different order, a master class in pacing and perspective, where the vicissitudes of trauma and memory are refracted to disquieting effect through a series of inexplicable events in a small town.<\/p>\n<p>\u201cDay\u2019s Residues,\u201d meanwhile, puts us inside the frayed nerves and disoriented sensory experience of a man at the tail end of a days-long cocaine binge. As the story unfolds, the borders between reality, dream, and hallucination become increasingly porous. Scenarios and characters recur, overlap, and are reconfigured. The overall effect is that the story itself\u2014in its rhythm, its structure, in the way it agitates one\u2019s nerve endings\u2014mimics the movement of a dream. But the unstable narrative footing also occasions moments of poetic lucidity. For Fogwill, dreams are \u201ca dark dissolution\u201d wherein \u201cconsciousness breaks down slowly, sloughing off its useless artifice\u201d; a bodiless state wherein the palimpsests of waking life accumulate without meaning and the veil of language drops, revealing things \u201cin their full being.\u201d Dreaming is both the structure and substance of the story, making for an experience of reading that is simultaneously dread-inducing and stimulating, disconcerting and epiphanic and entirely unforgettable.<\/p>\n<p>A prodigy and a polymath, a singer and a sailor, a lover of art, music, tobacco, fast cars, and public outbursts, Fogwill was a brilliant and subversive writer, a larger-than-life figure, Argentina\u2019s quintessential po\u00e8te maudit. His influence is pervasive and enduring in Spain and Latin America. Although those of us in the Anglophone world might be a little late to the party, here\u2019s hoping his singular body of work finds a foothold here. His writing demands our attention.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Will Vanderhyden is an award-winning translator of Spanish literature.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cA literature of ideas and the body, the political and the personal, the ordinary and the ineffable.\u201d<\/p>\n","protected":false},"author":2513,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[38893,67827,68782,68790],"class_list":["post-168271","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-argentine-literature","tag-featured","tag-issue-248","tag-rodolfo-enrique-fogwill"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>On Fogwill by Will Vanderhyden<\/title>\n<meta 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