Sad as She by Juan Carlos Onetti

Introduction

Every story is fictional in principle three people: two real, the author tells the story ("I" colloquial language ") and the reader that the account (the" you "that goes), and a person -the fictional hero, one who is telling the story (third person, "he"). This distinction can also differentiate clearly the stories in first (represented fictional narrator) or third person (fictional narrator not shown). The third-person narrative is located generally in the past without regard to the present and is stabilized in a distant time dimension and fixed chronologically. She is clothed with some objectivity and prevents some discretion to intervene in the private or intimate character, despite the omniscient character that the narrator intervenes in the story. By contrast, the first-person narrative is a mode (real or fictional) of the autobiographical narrative and, therefore, allows personal comments and interventions of the narrator in a greater degree. The "I" of the author is projected in the fictional world through the "I" narrator, the present of this is going to project themselves into the memory and sets a distance to tell her story, a time to collect the memories, a memory Serenada to tell them relive the adventures and the best way possible. The greater degree of subjectivity, the "lived" is transcended and brand recollection. Same is the situation in the 'Sad as She' written by Juan Carlos Onetti.

Discussion

The procedure is evident in As sad as it (1963), where a peculiar atmosphere is installed on a story written in third person. The real is relativized by an ambiguous and full of equivocal meanings. The reader has the sensation of an invisible presence that circulates as a witness who look, think, provides data and deliberately obscures other, but never seen, or knows who he really is. "Nobody, nobody knows how or why did this story is said to top-What we try to have started a quiet afternoon of autumn" later required imprecision, forgive the pun , to handle the possibility that maybe the whole story is born from this, as simple and terrifying: it depends, the option, that one wants to think or be distracted, the man only believed in misfortune and fortune, in good or bad luck, in all sad and happy that you can drop us over, we deserve it or not. She thought he knew something else was thinking about the destination, errors and mysteries, accepted the blame and end-to-end assuming that life is guilt enough to accept the payment, reward or punishment, same thing, the end of the day (Onetti, 20).

Far from the traditional third-person narration, which claims a decisive presence and "authorial", the fictional narrator is not represented in the work of Juan Carlos Onetti, but cannot help but try and discuss or to participate to a greater or lesser degree, with intrusions and comments, it does not so much to influence, but to disrupt and evaluative dimensions mediations of all kinds. What could be objective third-person narrative thus becomes "narrative rhetoric"-mode ...