JUAN VILLORO comenta de este libro: ” Si la admiración es un delito, Julio Villanueva Chang debe pasar el resto de su vida tras las rejas. Sin embargo, no se. Julio Villanueva Chang is the founding editor of Etiqueta Negra Magazine, He has published Elogios Criminales, a collection of his profiles, among other. “Elogios Criminales”, Villanueva Chang – Free download as PDF File .pdf), Text File .txt) or read online for free.
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Julio Villanueva Chang is one of the most international Sino-Peruvian authors. Chronicles and Profiles, an anthology of his chronicles published in the journal El Comercio between andand Elogios Criminales Criminal Praise, another anthology of seven profiles published by Random House Mondadori, Mexico. He is the founder and director of the magazine Etiqueta Negrawidely considered one of the best literary and intellectual publications in Latin America.
Villanueva Chang considers it a literary subgenre. Linda Egan has argued chagn it is a distinct literary genre: The chronicle is, clearly, related to the essay, but its distinctive textual persona feeds expectations that we will experience as something more than a lecturer sharing insights or recommendations on a significant current topic.
In this respect, the chronicle exceeds not only the generic limits of the essay but also of history, journalism, sociology, anthropology, metaphysics, comparative religion, philosophy, and other assertive genres.
Villanueva Chang adds villanuevw further insight on the intricacies of chronicle writing: His challenge is to be a reporter and a translator of happenings His challenge is to narrate the facts in such a form that leads the reader to understand what surrounds a phenomenon and its appearances, but being careful not to bore the reader something that other genres —urgent, fast, and summarized— simply can’t resolve.
He then presents Villanueva Chang as the last great chronicle writer in this Peruvian tradition. Villanueva Chang does not usually deal with Chinese topics or people in his writings and he only added his second surname to his signature once his epogios died.
In it, he uses his grandfather’s one hundredth birthday to reflect on his own Chinese ethnic background. First, Villanueva Chang informs his ancestor that his surname —the most common in the world— was a source of insults during his childhood: For ten criminalws, the author confesses, he did not want to be Chinese Peruvian and would open his eyes as much as possible.
Most people, he reminds his grandfather, do not know the difference between the various Asian nationalities, even though Chinese viloanueva are now part of Peruvian culture: In Peru, we all have negotiated the first decisions of our life in that child’s hand game named yan-que-po, not knowing that in Chinese it means paper, rock, scissors. Addressing his grandfather directly by his surname, Chang Ton, he recalls the latter’s personal history as an adventurous Cantonese adolescent who tried his luck in Lima and was lucky enough to have arrived after the first wave of Chinese migrants, which was exploited in the guano fields and the sugarcane and cotton states in quasi-slavery conditions.
Although Chang Ton did not know Spanish, he was a great calligrapher and cook. He also administrated a fruit and sweets store, and several chifas Sino-Peruvian restaurantsincluding the one in the Teatro Chino Chinese Theater.
Villanueva Chang also praises the refinement of Chinese food and culture, pointing out how they would measure time with a scent clock or by looking at cats’ eyes. Then, he apologizes for not knowing how to write in Chinese or even eat with chopsticks. Villanueva Chang explains that his grandfather, like all Chinese men, was a gambler. He was once arrested for playing the Chinese board game of mahjong. As is common in Villanueva Chang’s profiles, he mentions the horoscope this time the Chinese version to point out that he was born in the southern Chinese provinces jjulio Guangdong, under the sign of the pig, in We also learn that he owned the first television set in the neighborhood and that, when he became Catholic, he was baptized Carlos Alberto Chang Li.
Then, the profile describes him as a very strange Chinese, because he was so well adapted to Peruvian culture: You had over one hundred godchildren from marriage and baptism. You used to make music with spoons as accompaniment of the guitars of a Criollo party. You were the godfather of the neighborhood’s most celebrated vlllanueva teams.
“Elogios Criminales”, Villanueva Chang
He begins the letter with a nostalgic anecdote: While these appearances interrupted his writing for Etiqueta negrathey also allowed for deeper conversations with her dying mother. Villanueva Chang describes his mother and his own sufferings those days. Working on the magazine, he adds, would become therapeutic to overcome the pain of seeing his mother pass away. Her mother was the first person who found out how much he loved writing; and she loved reading Etiqueta negra. She taught him about the solitude he would later need for writing.
After she died, recalls the author, he felt guilty for all the moments he did not spend with her, but he also began to remember happy moments, like the day when she gave him a gift: The Guinness Book of Records.
He realized that she had been observing what her son liked to read. Celebrating the publication of the one hundredth issue of the magazine, Villanueva Chang ends his chronicle stating that reading Etiqueta negra is a similar thing: Villanueva Chang is considered one of the best Spanish-language chroniclers.
Many of his profiles and chronicles depict as much of his own personality as of that of his object of exploration. And he often uses the person in the profile as a pretext to expose deeper truths.
But there is a recent profile that also provides valuable information about his idea of chronicle writing: In it, he confesses his admiration for Hemingway’s chronicles and profiles, and highlights the main virtues of his narrative style, including his ability to present a great panoramic view while at the same time paying attention to detail.
Hemingway, argues Villanueva Chang, was able to jump from physiognomy criminnales character and from personality to history. His journalistic style opted for simplicity: Another of Hemingway’s virtues —which, in my view, Villanueva Chang shares with him— is his ability to portray himself as well as to describe tragedies through his characters.
As stated, in vil,anueva view, these traits that Villanueva Chang celebrates in Hemingway’s narrative style can easily be attributed to himself as well. For fifty years, this sixty-six-year-old Narcissus has posed for generations of students at the National School of Fine Arts.
In fact, we learn that students often ask him for advice when they draw him. The proud model, we read, knows that he is not only the oldest, but the best. He is also aware of his immortality: As Villanueva Chang declaims with his engaging and humorous prose, everyone respected Nonone, who performed his job with the grace of a bullfighter or a conductor.
His fame would eventually take him to act as himself in a short film and later to become an extra in an American film with John Wayne. The novelist Alfredo Bryce Echenique also included him in one of his novels. Eventually, he would go on to work in other jobs until he turned eighty, but he kept the same elegance.
Only seventeen years old at the time, she walked by herself along an Amazonian river for nine days until local lumberjacks found her.
She lost her mother in the accident, but one of the things that still hurt her is the sensationalist articles that were written by the press about the incident. In it, Villanueva Chang describes the underworld of alcoholics and prostitutes that one can see at night in downtown Lima.
Johns, we are told, are drugged and robbed by prostitutes. There is also a sixteen-year old boy who writes poetry and sings in the city’s buses. He sleeps covered by cardboard and guarding his two collections of poems, by the same door where he was abandoned when he was four months old.
With his typical sarcasm, Villanueva Chang concludes his profile by stating: But perhaps his most accomplished chronicles and profiles appear in Elogios criminales.
Unlike the rest of the texts in the collection, it is not the result of an interview with the protagonist but instead with his dentist, who recalls his experiences with friminales great master of Magical Realism.
Villanueva Chang, aware of the fact that the Colombian author rarely gives crimiales any more, opted to see him through his dentist. The first sentence describes a demystifying scene: Several sentences in the first paragraph are exemplary of the chronicler’s captivating and original style: Throughout the profile, Villanueva Chang drops information about the Colombian author’s youth, his dislike for interviews, and other anecdotes that show his most human side, thus steering away from his quasi-mythical stature.
He occasionally turns his gaze onto the dentist, relating how this unexpected visit changed his life: The second of the five parts of the profile introduces Villanueva Chang himself as a character. Five years after meeting the dentist for the first time, they meet again in Florida, after the family had to leave the country for fear of the Colombian terrorist group Fuerzas Armadas Revolucionarias de Colombia Revolutionary Armed Forces of Colombia, FARCwho were not fond of their Evangelist preaching in popular neighborhoods.
As is typical of Villanueva Chang’s profiles, he uses different names to refer to his object of study. He spoke about the writer with familiarity, admiration, and without fake reverence. But this time there is a slight twist to it: At profile’s end, Dr. The closing sentences show the same irony that characterizes other texts in the collection: In the history of literature, it has always happened: This is the question posed in the subtitle: In the third paragraph, Villanueva Chang introduces himself into the narrative as the interviewer.
Villanueva Chang, Julio [WorldCat Identities]
As in the previous profile, it is apparent from the onset of the narrative that its main goal is to reveal the man behind the celebrity: Other friends as well as his mother recall what a mischievous boy he was.
By contrast, ujlio the day of the interview in Florida, the tenor was quiet and calm: The energetic tenor, we learn, goes into a stand-by mood when he is not singing.
By contrast, as a child, this demure and formal tenor loved imitating his schoolteachers as well as famous singers and actors. He would also clown around singing opera on the buses for fun.
“Elogios Criminales”, Villanueva Chang – Free Download PDF
In line with his usual humorous tone, Villanueva Chang satirizes that the popularity ratings of opera and President Alejandro Villajueva in Peru are similarly low, and then accuses the tenor of not being able to distinguish between good and evil because he likes Julio Iglesias’s sense of melody. For instance, in preparation for the writing of his book Ebonyhe read two hundred books on African matters; he read fourteen thousand pages to write another book on Crimea; and since he never makes phone calls or writes letters or e-mails he does not need the Web when he is working, he once spent fifty months without communicating with his wife.
The chronicle also provides some writing advice from the Polish reporter, which, incidentally, shares commonalities with Villanueva Chang’s writing style: The first hint about the mayor’s personality is that, guided by vanity, he villsnueva prescription eyeglasses. Later in the profile, Salcedo condemns the ubiquitous discrimination against people with physical disabilities: Villanueva Chang also offers his first impressions: In the end, the reader realizes that the profile is devoted as much to the mayor as to the city of Cali: The profile also deals with Colombia in general, including the drug-trafficking problem, the history of its long-lived violence and of people’s tolerance with criminality, the origin of the FARC guerrilla, and other relevant issues.
Both Cali and Colombia end up becoming a microcosm of Julioo America: It seemed to be the usual story in Latin America: Therefore, as stated, the figure of the mayor is a narrative excuse to talk about Colombian national psychology, corruption, and Latin American politics. After describing Salcedo’s prodigious memory he has memorized approximately five hundred phone numbershis mental mapping of Cali, and his ability to play soccer, Villanueva Chang resorts to another antithesis to ask: