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Book by Mendoza, Eduardo. Sin Noticias de Gurb a project by zilviana. Domestika is the biggest and most influential Spanish-speaking community for creative professionals. When year-old yoga fanatic Natalie was summoned to visit Swamiji Maheshwarananda one evening, while staying at his ashram in India. A citation emphasizes the idea of a summons or a mention. Its presence in a narrative illustrates the possibility for engaging the dictatorship without taking on the trauma model 92 Alexandra Falek commonly used to approach literature and cultural production related to the dictatorship and its repression.
And its purpose is to cali attention to the dictatorship, by naming it, contributing to a larger mnemonic register of the dictatorship period. Especially today, when younger Uruguayans come to learn about the dictatorship mostly through mediated memories and mediated Information, mnemonic interventions are a narrative concept that presents a way into remem- brance, acknowledgement, and awareness. Perhaps they may also provide stimulation for politicai or social action with regard to the many unsettled matters of the dictatorship period. Pollak's Malezas and Benedetti's "El diecinueve" exemplify a mnemonic intervention that takes the form of a ghost.
She observes that ghosts act "as the traces of those who have not been allowed to leave a trace Derrida's for- mulation , and are by definition the victims of history who return to demand reparation" While Labanyi's work examines the post- Franco period in Spain — a different context from post-dictatorship Uruguay — her discussion of ghosts in Spanish society after Franco is relevant to this examination of ghosts and remains of the dictatorship in contemporary Uruguayan society.
There are striking similarities between the transitions to democ- racy in Spain and in Uruguay, such as the strong rhetoric of "moving forward," and the continued absence of justice and recognition at the State level. In both countries, the newly established democratic administrations worked carefully to shirk responsibility for the crimes of the authoritarian regime, insisting on denial and forgetting rather than accountability and justice. Some of the effects that this had in each country were a rapidly decreasing perception and confidence of the country for many of its citizens, a heightened sense of a crisis of competence at the state level, and a slow, but ongoing, emergence of the unresolved issues in many realms of society.
Labanyi turns to Derrida's notion of haunting — "hauntology" — used to explore the ghostly afterlife of Marxism after the death of Forms of Memory in Recent Fictional Narratives from Uruguay 93 Marxism. Labanyi draws from Derrida's reading for her analysis of hauntology and ghosts in Spanish society. And I turn to both of these criticai works to explore mne- monic interventions in recent narratives, as they evoke a similar notion of "ghostly afterlife.
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The ghost's unsettling appearance functions as a persistent reminder of the still-unresolved issues related to the dictatorship. Labanyi writes, "Ghosts can be placated only if their presence is recognized" The specter in the narratives "appears" in order to demand recognition and acceptance, making a space for itself in the present. Let us first examine a scene from Maria PoUak's Malezas: Entonces es del No me digas que no reconoces a Azul. No, la verdad es que no me acordaba. No es el momento de hablar de eso. While Ofelia knows that "something strange happened" to Azul, Lea does not recognize her, as nobody in the family has ever spoken about her.
Azul, who has been standing next 94 Alexandra Falek to her cousins without their seeing or sensing her spectral presence , stands off to the side of the stage and begins to recount the story of what happened the night that the photograph was taken. Azul's cousin Dulce — one of only three women at the party who can "see" and "talk to" Azul — stands beside Azul, joining in with the other cousins while each woman on stage takes a turn in narrating the events of that night, each one recounting it from her point of view.
That night marked the beginning of many years of silence and detachment in the family. The family would be forever distanced by what happened, by Azul's disappearance, by Uncle Ricardo's involvement in her disap- pearance, and by the repressive atmosphere that permeated society over the next twelve years. Azul's spectral appearance at the party is the first time that she has "visited" her family since the night that she was kidnapped.
The night of the party Azul has "come back" after thirty years "to do" something: Derrida explains that a specter comes back "to do" something: The one who disappears appears still to be there, and his apparition is not nothing. It does not do nothing" Azul "personifies" this specter who has returned "to do" something specific. Of the three women who are aware of Azul's presence and can "see" her — Dulce, Ducle's daughter Catalina, and Irma, the grand- mother's unfriendly and straight-faced caretaker who has been part of the family since the time that Azul and Dulce were young girls — it is Irma who resists Azul the most.
She knows specific details about what happened the night that Azul was kidnapped, yet she has never shared this with anybody in the family. As such, she is the first to "sense" Azul's presence, and the one who most denies it. Catalina can "see" Azul, yet she does not know her and therefore cannot "recognize" her. Irma, however, does engage Azul in a conversation just before the guests arrive.
She seems nervous that Azul has appeared, telling her that it is not in Azul's best interest that she has "come back. After a few more words and the first guest's arrival, Irma warns Azul not to enter the house. Irma strongly denies Azul's spectral pres- ence, as she continues to deny history. She seems especially obstinate in her denial of Uncle Ricardo's comphcity in Azul's disappearance, and of her knowledge of this complicity. It is not until the third scene that Dulce "sees" Azul.
The two cousins are in the backyard: Dulce has come to cut roses for her grandmother. She is surprised to see Azul, yet accepts her immedi- ately. Within seconds they are conversing as if they have been there together forever, as if Azul had never become an unexplained absence.
Dulce confesses that fourteen years ago she found Azul's diary, and that today she was going to reveal a "secret" to her cousins. She was finally going to expose the fact that Uncle Ricardo was involved in Azul's disappearance. She says to Azul, "Les voy a contar lo que dice el diario. Al fin de cuentas son nuestras primas [. Azul is quick to correct her, remarking that they "were" friends and cousins, that things are dif- ferent now after so many years of denial and forgetting. Dulce gives her reasons for having taken so long to tell the cousins about the diary and the family secrets: She had been afraid then, and that fear had never gone away: In a later scene, Catalina finds the diary and devours the pages of her aunt's reflections.
Catalina knows that the "leyenda familiar" about Azul is marked more by lies than facts. Just after this quarrel between Irma and Catalina, Azul makes an "appear- ance" before Catalina. Yet Catalina has never met her and believes that she is a friend of Irma's. Some of the cousins claim not to remember Azul. Others, like Ofelia and Lea, were very young when she disappeared. None of them have acknowledged what happened to her.
Dulce welcomes and accepts her, recognizing her spectral presence. She is ready to talk about what happened, ready to live with this ghost. Her acceptance 96 Alexandra Falek is similar to Derrida's proposal to keep ghosts close, and allow them to come back. He writes that "one must not chase away" or forget what he calis "untimely specters" because forgetfulness, he writes, "will engender new ghosts" Irma, on the contrary, shuts Azul out as something frightening, and tries to forget her.
Irma opens herself to Derrida's idea of the engendering of new ghosts: Azul allows the living, her family members, to have their space in the present. She does not insist, and she does not make demands, as the ghost in Benedetti's story "El diecinueve" does. Azul leaves her cousins "in peace," even though they refuse to recognize their past. Yet she does not go away, but instead makes a space for herself in the present too. Malezas is one of the most recent — and one of the few — theatrical performances written in Uruguay to evoke the dictatorship period and its impacts on families, society and daily life, thirty years after the return to democracy.
It calis spectators' atten- tion to the still-uncertain status of disappeared Uruguayans, and to the continued denial and injustice with regards to the dictatorship. Azul's spectral presence forces Irma to acknowledge the continuity between the dictatorship and what Rico calis the democratic "now. Pollak's recent play is similar to Benedetti's story "El diecinueve" in that it is a reminder and a commemoration of still-unaccounted-for Uruguayans, and still-unrecognized crimes.
Diecinueve in "El diecin- ueve" and Azul in Malezas are ghosts that have "come back" for the first time after more than twenty years. Both narratives communi- cate a critique of the still extant Law of Impunity. In both narratives, a mnemonic intervention is present in the form of a ghost. Pollak and Benedetti conjure specters from the dictatorship, situating the inter- ventions in an environment of anxiety in the present.
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The specters in both narratives have come back "to do" something: In order to carry out these objectives, Diecinueve and Azul make a spectral appearance, breaking through the surface of the narrative in a mnemonic interven- tion, demanding acknowledgement from those they have come to visit and addressing the unfinished business. In Benedetti's story, Diecinueve is the specter of a desaparecido who, like Azul, performs the above-discussed functions of a citation: It tells the story of Farias, a Uruguayan military officer, torturer and death flight operator during the dictatorship, and Diecinueve, an Argentine citizen and supposed "subversive" militant during the same period.
Diecinueve does not have a proper name other than the number assigned to him before he was thrown to his death from a plane — like many Argentine and Uruguayan citizens during the dictatorships — into the Rio de la Plata, the river that forms part of the border between Argentina and Uruguay. Farias desperately wants to believe that Diecinueve is just a ghost in his imagination, a ghost that has appeared to cause trouble, and therefore must be avoided and denied. However, Diecinueve insists 98 Alexandra Falek that he is not a ghost, and that against ali odds, he survived the fali from the plane that was meant to kill him.
Diecinueve wanders into the narrative and into the life of his former torturer. He has appeared in order "to do" something: Diecinueve has come back to remind Farias that he is still "there" and that Farias must accept him and admit his presence: He also wants Farias's family to "see" him. Diecinueve promises to not tell them who he "really" is, yet he knows that their "seeing" him will further confirm the "reality" of his presence.
Farias tries to keep his calm and "invites" Diecinueve into his house, introducing him as a friend. Meanwhile Farias continues to convince himself that Diecinueve is just a ghost. Did he really not drown in the ri ver with the others? Shortly after, Farias escorts Diecinueve to the front gate and breaks into tears, clearly shaken by his unexpected "visitor. But these words do not make Diecinueve go away.
Al fin me has convencido. Pero a ella no le digas que soy un fantasma, porque no te lo va a creer" Farias cannot compre- hend Diecinueve's appearance: Yet insisting on his presence is the work that Diecinueve has come to do. By making a space for himself in the present, he forces Farias to remember, and to "deal with" him again. After so many years of denial and silence. Farias is deeply unsettled by Diecinueve's sudden "appearance.
Yet, as Derrida writes, "the more life there is, the graver the specter of the other becomes, the heavier its imposition. And the more the living have to answer for it" Diecinueve's appearance, or "imposition" as Derrida states, is both "grave" and "heavy" for Farias. What he most loathes is Diecinueve's demand that he "answer" for his past crimes. Diecinueve expects acknowledgement from Farias, who now has to "answer for the dead, to respond to the dead," as Derrida writes.
Like Azul in Malezas, Diecinueve is a specter that summons the dictatorship, stimulating remembrance and acknowledge- ment as a remain that persists in being. Like Irma in Malezas, Farias rejects Diecinueve, trying to absolutely avoid and to refuse this ghost who has wandered back into his life. After so many years of impunity, forgetfulness and denial. Farias, like Irma in Malezas, has opened himself to Derrida's idea of "engendering new ghosts" The more Farias tries to deny Diecinueve by pushing him away, the more likely other specters from his dark past will also make themselves present.
As we have seen, a mnemonic intervention can take the form of a specter — as in Malezas and "El diecinueve" — that functions as a trigger, making what remains of the dictatorship visible for both pro- tagonists in the narrative and for readers.
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He does not name "exciting" things. Instead, he narrares the predictable characteristics that are the lifeline of the town, such as the weekly dances in the main plaza. By using the imperfect, "no se iban," with the infinitive, "a terminar," Miguel insinuates the probability of a future action, emphasizing that at one time nobody in town thought that anything could disrupt the Alexandra Falek regularity of these dances. By using this grammatical construction, he intimates that the dances are indeed about to come to an end.
Even this seemingly unchangeable weekly dance was about to undergo a major transformation in ways that nobody could have expected. He remembers a particular dance: Miguel's memory of this dance conjures up a specific event that took place on a particular Sunday in His summons of this dance is significant for three reasons. First, it was the last dance that was held in town before the Golpe in Second, the dance took place after Pacheco Areco had been to town at the height of his electoral campaign. These details establish both the familiarity and the importance of the dances.
He does not remember exactly when the rumor began, but his memory of this shocking rumor, an abrupt change in his previously unevent- ful life, is unmistakably linked to this last dance before the Golpe. His memories of this dance function as a catalyst for recollecting other drastic events that occur in the town during this same period.
Many things begin to change just after the dance: Miguel narrares three events that he remembers from this turbulent period, two of which are dis- cussed here. As each one transpires, news and rumors about them travei quickly from one neighbor to the next. The town's inhabitants seem unprepared to react or respond to these unprecedented events.
Each event that Miguel narrates is a mnemonic intervention in that it cites a specific aspect of the chang- ing social environment before and during the dictatorship. This shocks the town for two reasons. Second, the town's inhabitants have never witnessed or heard of a birth of such an anomalous creature. The rumors begin to fly: People stop in the middle of the street to talk about what has happened, just to say it out loud.
The town's inhabitants had to take care of themselves and their families first. They had to contain their own fears and circumstances, afraid to talk to the neighbors yet desperate to understand what was occur- ring in their town. After all, the baby has two heads. He must ask for advice from the archbishop, who tells him to consult a book published in Palermo in , hoping to clarify the proce- dures for such an exceptional circumstance. But the baby dies before there is time for even one baptism. The perplexity amongst the clergy resembles the general puzzlement of the town's inhabitants.
Everybody seems intrigued yet disgusted. Unusual events have begun to transpire in this quiet and-uneventful-place, forever agitating the calm tediousness that previously characterized life in this town. Two weeks after Eloisa gives birth to her monstrous baby, Maria Elvira dehvers Siamese twins. Like Miguel's memory of the impact of the two-headed baby, this memory conjures up a specific event that takes place after the last dance. The memory corresponds to another phenomenal occurrence. Maria Elvira's Siamese twins are unlike ali others: Both mothers must bury their babies within the first month of life.
Miguel refers to the birth of the Siamese twins as a "live metaphor" of the times: Here Miguel cites the dictatorship by both criticizing and naming the imprisonment and torture carried out by the military. This second unparalleled occurrence that has shocked his town again echoes the repressive and violent atmosphere of the country under dictatorship. As noted earlier, the news of the Siamese twins, like ali news during this period: Miguel repeats this comment frequently, and in each repetition, the image of the quickly spreading rumors gains intensity.
There are so many rumors about the grotesque births in this town that the news eventually reaches the capital city: Again, Miguel directly cites the dictatorship, here by naming Bordaberry, who executed the Golpe in , and again. Up to this point. Forms of Memory in Recent Fictional Narratives from Uruguay he has evoked numerous aspects of the dictatorship without describing or representing it reaUstically.
He summons the dictatorship, names the problems, and then continues where he had left off. He cites the dictatorship by naming the new and now indefinite presence of the soldiers in town, their inexpH- cable actions, and the seemingly uncontroUable freedom with which they carry out their "business. On a literal levei it is not hard to imagine how these events have both paralyzed and disturbed the town. The oblivion that Miguel names also refers to the denial and forgetting, or amnesia, so actively encouraged by Sanguinetti's government just after re-democratization, which intended to move the country forward after so many years of violence and repression.
For Miguel and the other astounded inhabitants in town, the period during which these unprecedented events take place seems end- less. And then finally, in one more unexpected turn in the narrative, Miguel informs readers of his complicity in the bizarre events. Nobody had ever suspected that Miguel — or anybody in particular — would take ownership for these occurrences that so drastically disturbed the town.
Miguel has kept silent for ten years, never once admitting responsibiiity or disclosing information with respect to the events. He has refused to recognize his involvement, living unbothered amongst his neighbors. His silence echoes the prolonged silence of former repressors and coUaborators of the dictatorship in Uruguay. What might we think about Fontana's fascination with physical defects and "monstrous" deformities in the story?
Not only do these peculiar creatures have physical defects, they ali die prematurely. We can read the physical defects as a metaphor for the dangers and social crisis brought on by the state imposed by violence and repres- sion. The dictatorship regime caused distortions and deformities, among citizens, among families, among communities, and within the nation as a whole. Momentous changes have profoundly and permanently shocked Miguel's small town, greatly disrupting its routine activities and social structures.
The uncanny events do not reproduce the dictatorship period, yet they directly cite it, as with Alexandra Falek Miguel's naming of Bordaberry and Pacheco Areco. While some read- ers may not recognize the allegory of the aspects of the dictatorship and the transition, readers from Uruguay will be aware of this impHcit association made identifiable by Fontana.
The story has its strongest impact by citing the dictatorship in mnemonic interventions, that is, by making aspects, memories, and information of the dictatorship present and "visible. Many early post-dictatorship narratives made use of the explicit mode of direct representation by realistically describing the everyday fear, loss, violence, and repression common during the dictatorship.
For Uruguayans that do not have personal memories of the dictatorship and that learn about this period through mediated information, fictional narratives that cite the dictatorship by means of mnemonic interventions provide an accessible space for memory and awareness.
This is not to say that the interventions will provide readers with personal memories if they do not already have them, as this is an impossible endeavor. Rather, the interventions contribute to a mnemonic register, to an evolving cultural memory, by imparting information, awareness, and fictionalized memories in the narratives.
Mnemonic interventions bring readers into direct contact with the dictatorship. Perhaps readers of these narratives do not expect to come upon this kind of reference, as they might expect in a testimonial narra tive. Perhaps readers may not know what "to do" with this refer- ence, or mnemonic intervention, should they decide "to do" anything with it at ali. The ways that readers respond to these narratives will vary according to their relationship to the dictatorship, and they will also have important implications for how they think about the dicta- torship in the present, a constantly evolving process.
Since the return to democracy in Uruguay, there has been an ongo- ing debate regarding the ways that citizens remember and discuss the dictatorship in the public sphere. Some people concur with the need Forms o f Memory in Recent Fictional Narratives from Uruguay for continued debates and inquiries about the dictatorship. Others are resolute in their appeals to leave discussions about the dictator- ship behind.
This polarization is especially relevant among younger Uruguayans born in the aftermath of the dictatorship, some of whom know httle about this period. The narratives studied have a mnemonic utihty: What is important is the pres- ence of the mnemonic interventions in the narratives, as they offer a space for readers to engage, on some levei, the dictatorship and its criticai presence in contemporary life. Many of the first post-dictatorship works published in the late s and during the s were based on the personal testimonies of first hand and secondary accounts of torture, and detention.
I include only a few here: Fernando Butazzoni, El tigre y la nieve Barcelona: Bordaberry served a short prison sentence seventy-two days begin- ning in November , in Central Prison No. Under Arricie 4 of the Law of Impunity, investigating what happened to detained and disappeared Uruguayans in Argentina is allowed. The incarceration of Bordaberry and Blanco in is one example of this category of investigation. They secured the , signatures required to cali a referendum in which citizens would be able to vote to annul or to ratify the Law.
The referendum was ratified with the Yellow vote, indefinitely preserving the Law of Impunity. There was an impressively high turnout of voters Ediciones de la Banda Oriental, that voters from the interior provinces — who had suffered less repression during the dictatorship than those living in Montevideo, and who greatly feared any kind of military backlash — overwhelming voted Yellow. Luis Roniger discusses the details of the Law of Impunity and the referendum in Luis Roniger, "Olvido, memoria colectiva e identidades: Uruguay en el contexto del Cono Sur," La imposibilidad del olvido: Recorridos de la memoria en Argentina, Chile y Uruguay, comp.
Ediciones al Margen, For example, the remains of communist militant Ubagesner Chaves Sosa were "found," identified, and buried in the Cemetery del Buceo in Montevideo in It should not be overlooked that recent developments and "new" Information such as the "discovery," or acknowledgment, of human remains of a number of desaparecidos has caused a flurry of new investigations of the dictatorship period.
In March human rights groups demanded the need to challenge the unconstitutionality of the Law of Impunity. Approximate numbers of disappeared persons suggest in Uruguay, 30, in Argentina, and 11, in Chile. Translation is my own. Rico suggests that two of the effects that are resulting from the dynamics of social and politicai authoritarianism from to are: Jacques Derrida, Specters o f Marx: Kiev, written by Sergio Blanco and directed by Mario Ferreira is a more recent play about the dictatorship, performed in by the Comedia Nacional in Montevideo.
Areco was elected president in and implemented the beginnings of the politicai, economic, and social repression that was solidified with the Golpe. An example of this kind of realistic representation is the intensely descriptive novel El tigre y la nieve by Fernando Butazzoni. See Note 1 for more examples. With regard to the disclosure of "new" information: For example, Uruguayans now know about the death flights operated by the Argentine and Uruguayan military, in which leftist, and citizens considered to be a "subversive" threat to the dictatorial regime were pushed to their death in the Rio de la Plata.
And they, also, now know about Plan Condor in which dictators from Argentina, Brazil, Chile, Paraguay, and Uruguay collaborated together, sharing intelligence in their efforts to rid their countries of the supposed dissident guerillas. Bordaberry and Blanco's recent imprisonment was the result of this "new" information.
El libro de los abrazos: Marking Time in a Culture of Amnesia. Comedia Nacional de Uruguay. Sala Verdi, Montevideo, 26 July Aldo Marchesi, et al. Breve historia de la dictadura, Ediciones de la Banda Oriental, As it is typical for images, photographs show signs of inner, potential narratives contained inside them. Nevertheless, the attribution of authority is a debated point.
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In fact, a negationist discourse of collective tragedies periodically arises to put into question the veracity of the catastrophe of the Holocaust. Roberto is able to choose one meaning only because he was physically present at the photographed event. In fact, externai elements he remembers guide his interpretative gaze. In fact, for Antonioni, even the author of a photograph may have doubts about what really happened at the moment of taking a picture, regardless of the fact he was there.
He too is presented as an unreliable authority. Sebald's posthumous novel Austerlitz is a book on Holocaust presenting numerous photographs on objects and places apparently unrelated to the tragic event. The wanderings of two characters through contemporary Europa, their fortuitous Encounters, and the conversations they share in met- ropohtan surroundings are at the center of Austerlitz. On the contrary, his sketches of impressions on landscapes and people, his ruminative reflections, are at the core of his notes. In one of his visits to the city of Antwerp, he casually gets to know AusterHtz, an erudite academic who — as the readers soon discover — has forgotten the part of his early hfe that coincides with the Second World War.
The acquaintanceship between the two men and their future encounters frame the narrative. A novel tout court, a Holocaust historical novel, an essay in literary form on the functioning of mnemonic processes, are some of the possible labels we use to categorize this book. At first sight, readers notice that this book, so rich in descriptions of buildings and architectonic structures, is not organized according to a common literary "architecture" divisions into parts, signaled by chapters and paragraphs.
Even the diacritical marks distinguishing the volees of the various speakers of the text are absent. This absence is significam, in the sense that, as is often the case in this book, what is missing is a continually evocated subject. The sense of "weight" of this text, the impenetrability it seems to suggest, is recalled in one observation made by the narrator, who visits the fortification of Antwerp and reflects that "the construction of fortification [.
The assumption of the existence of "enemy powers," which could break Sebald's Still Life Devices against Interpretations into and subvert the discourse, is directly connected to the almost continuous text of Austerlitz: This iconographic choice is meant to explore the theoretic ques- tion of the use of images for the representation of a traumatic event, such as the Holocaust.
Every piece of Information Austerlitz recol- lects about himself is a result of a quest, his research through Europe, the consultation of documents, conversations with people who met him as a child, and finally, images that serve as illuminating keys for Austerlitz's personal memory. If we consider the programmatic, systematic effort to dehuman- ize the prisoners at all leveis and to completely erase the chance of transmission of Information about what was actually taking place in the camps, the Holocaust can be seen as an unicum in the history of humanity.
Based on this premise, the question that arises focuses on the possibility for the traditional narrative forms novel, short story, biography, etc. As Berel Lang affirms: The follovving photographs in the book are neither ornamental nor ancil- lary but constitute the crucial point of the reflection. The premise of my analysis is shaped by Hayden White's consider- ation of the historical text and its characteristics, comparable to those of the fictional narrative.
But it is wrong to think of a history as a model similar to a scale model of an airplane or ship, a map, or a photograph. Also, he does not take into consideration photographs documenting past events that we cannot reach "by going and looking at the original" White Contrary to White's argu- ment, photographs are always the result of a selection of elements to assemble in a delimited frame.
In addition to that, photographs deal with ephemeral, the instantaneous, and the volatile, which is Sebald's Still Life Devices against Interpretations consequently not verifiable in an empirical way. To affirm that pictures are transparent is to ignore both the photographer's working gaze and the individual readings made by any person who looks at them.
All these conditions open doors to a variety of possibilities in the act of producing, seeing and interpreting images. In fact, he is not alone in his act of taking photographs. The camera itself is a subject that influences the gaze of the photographer because it forces him to look for singularity and meanings in the landscape.
The pro- tagonist of the story, Roberto Michelet, a translator and photographer who Uves in Paris, notices that "[. In other terms, the photographer needs to find exceptional conditions in order to justify the shot and Roberto 's imagination works to satisfy that need. When he is casu- ally the spectator of the encounter between a boy and a more mature woman in the streets of the Quai d'Anjou, he immediately starts con- structing biographies and plots around them: