Nona Fernández – författare

Esta compilación es el resultado de la transcripción textual de los conversatorios que tuvieron lugar en Zoom, en marzo de 2024, con motivo del vigésimo aniversario de A Contracorriente: una revista de estudios latinoamericanos. Dichos conversatorios contaron con la participación de cuatro destacados escritores latinoamericanos, Pola Oloixarac (Argentina), Jorge Volpi (México), Patricio Pron (Argentina) y Nona Fernández (Chile); asimismo, sus interlocutores fueron los críticos Ariel Schettini, Héctor Jaimes, Greg Dawes y María Rosa Olivera-Williams, respectivamente. En las reflexiones generadas a partir de estos diálogos se exploran las formas en que la literatura actúa como herramienta de resistencia frente al neoliberalismo contemporáneo.

La Moneda, nombre curioso para una casa de gobierno fue incendiada y destruida después de albergar a veintitrés presidentes de la República y de haber permanecido en pie durante siglos de historia. La destrucción de este cuerpo arquitectónico fue el preámbulo de lo que sucedería a lo largo de los siguientes años con otros cuerpos, otros edificios, otras arquitecturas de pensamiento, de acción y relación. ¿Cómo recordar la sed? se presenta como un ensayo sobre los escombros del tiempo y la historia. Porque, ¿cómos seguir recordando cuando las estrategias de memoria desde el mundo de la creación han fracasado? Las respuestas a ese desafío no son sencillas, pero hay que enfrentarse al reto. El teléfono suena en el salón presidencial. […] El presidente contesta el teléfono y comienza a pronunciar las palabras que configurarán su testamento político. […] Habría un después, eso dejaba entrever en sus palabras. y en ese después, lo sabemos, aún lo esperamos, se abrirán las grandes alamedas.

Space Invaders is the story of a group of childhood friends who, in adulthood, are preoccupied by uneasy memories and visions of their classmate Estrella González Jepsen. In their dreams, they catch glimpses of Estrella’s braids, hear echoes of her voice, and read old letters that eventually, mysteriously, stopped arriving. They recall regimented school assemblies, nationalistic class performances, and a trip to the beach. Soon it becomes clear that Estrella’s father was a ranking government officer implicated in the violent crimes of the Pinochet regime, and the question of what became of Estrella after she left school haunts her erstwhile friends. Growing up, these friends - from her pen pal, Maldonado, to her crush, Riquelme - were old enough to sense the danger and tension that surrounded them, but were powerless in the face of it. They could control only the stories they told one another and the “ghostly green bullets” they fired in the video game they played obsessively.One of the leading Latin American writers of her generation, Nona Fernández effortlessly builds a choral voice and constantly shifting image of young life in the waning years of the dictatorship. In her short but intricately layered novel, she summons the collective memory of a generation, rescuing felt truth from the oblivion of official history.

It is 1984 in Chile, in the middle of the Pinochet dictatorship. A member of the secret police walks into the office of a dissident magazine and finds a reporter, who records his testimony. The narrator of Nona Fernández’s mesmerizing and terrifying novel The Twilight Zone is a child when she first sees this man’s face on the magazine’s cover with the words “I Tortured People.” His complicity in the worst crimes of the regime and his commitment to speaking about them haunt the narrator into her adulthood and career as a writer and documentarian. Like a secret service agent from the future, through extraordinary feats of the imagination, Fernández follows the “man who tortured people” to places that archives can’t reach, into the sinister twilight zone of history where morning routines, a game of chess, Yuri Gagarin, and the eponymous TV show of the novel’s title coexist with the brutal yet commonplace machinations of the regime.How do crimes vanish in plain sight? How does one resist a repressive regime? And who gets to shape the truths we live by and take for granted? The Twilight Zone pulls us into the dark portals of the past, reminding us that the work of the writer in the face of historical erasure is to imagine so deeply that these absences can be, for a time, spectacularly illuminated.