el ...narrativas contaminadas - D-Scholarship@Pitt - University of ...

The politicization of aesthetics on the theme of labor and syndical organization, as
well as the candid language on taboo subjects, placed the work outside the
nationalist framework acceptable even to the circles that had supported critical
innovation in the arts. Although equal to the radical social criticisms in novels by
Oswald de Andrade and Jorge Amado, writers later considered central to
nationalist concepts of literary modernism, Pagu’s prose passed almost without
notice and was not mentioned in any subsequent major history of Brazilian
literature. The neglect or exclusion of Industrial Park from histories of modernism
written since the 1940s and 1950s leaves a conspicuous gap in the definition of
the period. Unlike regional works, the urban social novel could not be “saved” by
picturesque description or by the folkloric or indigenous themes then highly
valued in the creation of the idea of a national character. The novel’s female
working-class characters, immigrant dialectal language, and urban geography,
alongside its propagandistic political slogans calling for communist revolution,
did not at the time fit into accepted theories of either artistic prose, social
pamphlet, or national character. (Afterword 126)
Así, la obra habría resentido la renuncia y denuncia del mismo modernismo del que
surgía. Agrega Jackson que “[w]ithin a retrospective consideration of literary modernism,
Industrial Park is neither an exception nor a marginal work, but noticeably one of the most
forceful, expressive depictions of urban reality within the modernist aesthetic […] Industrial
Park is a ‘lost’ text that alters and enriches our understanding of modernism as a whole”
(Afterword 126-7). En esta encrucijada crece el interés de Parque industrial, obra de tensiones
entre lo femenino y lo social, lo panfletario y el modernismo. Quizás sea en el trabajo de su
lenguaje donde mejor pueda verificarse esta complejidad contaminada. Primero, porque vuelve
dúctil lo ordinario con una voluntad estetizante, pero que contrastado como imagen vanguardista
forja significaciones nuevas, imágenes innovadoras con voluntad popularizante. Podemos
174