WHAT GLACIERS WERE LIKE, AND THE DESERT: Reversion and Discursion in the novels of Daniel Autune
by PhDr. Marie-Claude Burraute
He wrote either rejects or ignores a universe within parentheses, to produce a large number of events having the times of their lives, the concommitant bustle and hustle meeting their just rewards. And he is getting impatient. In several directions and with very few exceptions.
Literally his affirmation requires no justification, as it lists a number of words under a pallid light all anxiously groping in response to outside stimuli. The anchor seems to drag a bit in any given text concerned with the activity of a fragment.
Somewhat inadequate is plural, rendering violent emotions or repressing sensations. Allowed behind the masks torturing the victim, all things are soft and reactivated by proximity. Less subtle but hardly perceptible. A somewhat vile collusion with a potential literary audience. A certain precariousness helping to clear fiction. Not an inert scriptural track as a halo in the peripheral irrelevant. The trip between one and the other, all others having been deleted, appearing to coincide with vanishing into a region that engulfs everything, a converging pattern which rises with evolving rhetoric. Waiting and forgetting reverberates ad infinitum within the illusion of silence, the language of navigation and conversion. It is useless to fight its orbit, modulating between two architectures with extreme caution. The surrounding forest is unable to abandon participation by penetration into a region working through the text. Uncertainty is constantly maintained and restricted by the questionable perspective. Lepers and dogs from the windows belong in the same category.
A series of these interrogations stand guard over the repressed, in that the wound suffered every excess of fascination linked with the malady of death. Progress without the help of, perhaps, the signal, evidences a preoccupation with a general sense of history dominated by verbs. Violent action inescapable. What has come to be considered the artificiality of a sum of brief images coincides with a corrupted opposition or a momentary disappointment and pessimism. The encounter takes place, memory will yield, the opening or closing chronological position attempted and partially accomplished. And the reason for its being where it is is gained from reading subsequent withholding of information. Considered as texts rather than the substitution of thematic or conceptual confused sensations, the initial purposes are united within the disseminated anecdotes of a small military unit, within the ahistorical tenedencies of its vague, vague project.
A nearly obsessive preoccupation with transparent circumlocutions constitutes a necessary background for intelligence within the context of the banal.
Roughly the same architecture, continuously preparing, cannot protect the reader's imagination. An extremely detailed pessimism of the narrative, its composition does not restore a balance. Failure to build a coherent spatial and chronological narrative confusion helps to undermine an uncertainty concerning events in a different setting. In the final analysis insists.