Gonzo Series (7 / 10)
B uy the Ticket, Take the Ride VII
7. Robert Juan-Cantavella
Robert Juan-Cantavella (Almassora, 1976), former editor of the journal Lateral is the last writer who has invoked the figure of HST and gonzo journalism when to launch his book The Golden . Author of novels and Another Fiction Proust, Jean-Cantavella, through his alter ego Trevor Escargot (following the lead of Raoul Duke), he was commissioned to write an article on Marina D'Or, the largest resort town and leisure in Europe, now a symbol of the decline of the bricks. Thus, Escargot frolics in urban paradigm of irrationality and excess, a Pharaonic environmental impact model, a mirage, and outmoded dream, similar to Las Vegas of HST, where nothing seems to be advertising, except the account. However, Escargot is not locked in the artificiality of Marina d'Or, but their cynicism is up to the visit of Pope Benedict XVI to Valencia.
The author, in his words, is "very interested in the border between genders and to update the new journalism of the 70 United States." In addition to holiday in Marina D'Or, Jean-Cantavella boasts a rigorous work of documentation, while acknowledging a job of "misuse of facts," filtered through passages hallucinogens. Game between reality and fiction, Juan-Cantavella combines fierce criticism, the rapture biography, custom, metaperiodismo surrealism and with a great deal of verbiage nutty, away from the subtext suggestive of HST and conjugating your own itinerary of phobias. The author is sincere when he said in an interview that his primary interest was aesthetic rather than provoking thought in particular Fear and Loathing in Marina D'Or . Unusual product in the English literary journalism, bordering on kitsch that Kisch, the reader is complicit in all the movements of Trevor Escargot, intake of pills, his hallucinations, the launch of his tape recorder, etc.. The author even allows dialogue with himself, Jean-Cantavella, and charge back against the SGAE (remember that the author has been denounced by the same syndicate after an article in Chimera where he accused the company to exercise piracy).
And how do we sell the author the product beyond its virtues? So with a new label with which to attract attention, a new slogan for a product already known. Despite declaring fan of gonzo journalism , Juan-Cantavella speaks in a manifesto, posted on web, aportaje , a kind of story where "every character is very real and any resemblance to the fiction of the facts, a wonderful chance." And instead of gonzo journalism talks about Punk Journalism, "a bastard form of journalism Gonzo." In his essay Juan-Cantavella writes:
gonzo journalism , if you think about it, not advance muc h further by s rhetorical castle of sand, but should focus on continuing the path journalistic Wallraff more bite and edge, as it does in some passages Juan-Cantavella. However, one has sensation with his latest work that you try to fake, despite the honesty of its author. First, the covenants of veracity between journalism and the reader never had less validity today, despite the official package. Precisely this was one of the bridges blown up by The New Journalism , and its allergy to the dogma of objectivity virtual. It does not seem honest and build walls to cut down to make them blow up, in order to get medals and attract old lazy critics.
More interesting is perhaps the game of mistrust that arises Juan-Cantavella, where the reader question everything and ends his reading without the slightest certainty. However, this confusion (did or did not happen / was there or was not there) susceptibility or rather, has always been on the back of gonzo journalism, accused of promoting constructions of reality to suit the reporter, as is inherent in all of journalism. Hence, under the premises of Juan-Cantavella the concept sale devour any journalistic purpose, but I fear that the clever author has no such pretensions outdated service. In fact, we talked about perhaps more novel not gonzo journalism gonzo , and not by their output format. Juan-Cantavella
insists to distance and also speaks of Old Journalism The finding that New Journalism is outdated, when The New Journalism old currency reached levels not yet overcome and concerning not supplanted. It is a broken tradition. As far as gonzo journalism regards, Juan-Cantavella substitutes the Journalism Punk , bastard form of gonzo journalism, "... in the case of Journalism Punk not only care about the elegant traps realistic narrative but also other less respectable having to do with pure confabulation, malicious parody, sincere lies, speculation kamikaze, the blunder free immediate irresponsibility, etc ... or what amounts to the same, the Punk Journalism also traffics in lies because he knows what he is saying is true. " If you've read HST, especially the post- Hell's Angels, one is just all kinds of traps disreputable (pure fable, parody malicious lies sincere, speculation kamikaze, the blunder free, irresponsibility immediately) so that there is no justification for a new label. In short, is a fictional label which creates confusion and some notoriety, with the complicity of editorial interest, which does not mean that the novel has passages critical content, thugs and entertaining but for the amusement of the author in the flesh.
The author, in his words, is "very interested in the border between genders and to update the new journalism of the 70 United States." In addition to holiday in Marina D'Or, Jean-Cantavella boasts a rigorous work of documentation, while acknowledging a job of "misuse of facts," filtered through passages hallucinogens. Game between reality and fiction, Juan-Cantavella combines fierce criticism, the rapture biography, custom, metaperiodismo surrealism and with a great deal of verbiage nutty, away from the subtext suggestive of HST and conjugating your own itinerary of phobias. The author is sincere when he said in an interview that his primary interest was aesthetic rather than provoking thought in particular Fear and Loathing in Marina D'Or . Unusual product in the English literary journalism, bordering on kitsch that Kisch, the reader is complicit in all the movements of Trevor Escargot, intake of pills, his hallucinations, the launch of his tape recorder, etc.. The author even allows dialogue with himself, Jean-Cantavella, and charge back against the SGAE (remember that the author has been denounced by the same syndicate after an article in Chimera where he accused the company to exercise piracy).
And how do we sell the author the product beyond its virtues? So with a new label with which to attract attention, a new slogan for a product already known. Despite declaring fan of gonzo journalism , Juan-Cantavella speaks in a manifesto, posted on web, aportaje , a kind of story where "every character is very real and any resemblance to the fiction of the facts, a wonderful chance." And instead of gonzo journalism talks about Punk Journalism, "a bastard form of journalism Gonzo." In his essay Juan-Cantavella writes:
In aportaje there is no truth pact governing the designs of the newspaper report. Established between the journalist and the reader, similar to the first tacky agree with the accuracy of the information provided to the second, so if the label is respected journalist acts with prudence and diligence, before even reading the text the reader will know what you are going to tell you is true. [...] So when the reader is confronted with a text of these features is confident that as you will have is the reality and not fiction. The
aportaje, however, this covenant does not exist. The reader is faced with aportaje not be sure that everything is going to read is true. This does not mean that everything you read is untrue. In fact, in a profound sense means the opposite. What changes is the attitude and the attitude of the reader who is facing a aportaje is not based on trust, like the story, but suspicion. The reader with a aportaje you are not given to know in advance if they are going to tell you really happened.
More interesting is perhaps the game of mistrust that arises Juan-Cantavella, where the reader question everything and ends his reading without the slightest certainty. However, this confusion (did or did not happen / was there or was not there) susceptibility or rather, has always been on the back of gonzo journalism, accused of promoting constructions of reality to suit the reporter, as is inherent in all of journalism. Hence, under the premises of Juan-Cantavella the concept sale devour any journalistic purpose, but I fear that the clever author has no such pretensions outdated service. In fact, we talked about perhaps more novel not gonzo journalism gonzo , and not by their output format. Juan-Cantavella
insists to distance and also speaks of Old Journalism The finding that New Journalism is outdated, when The New Journalism old currency reached levels not yet overcome and concerning not supplanted. It is a broken tradition. As far as gonzo journalism regards, Juan-Cantavella substitutes the Journalism Punk , bastard form of gonzo journalism, "... in the case of Journalism Punk not only care about the elegant traps realistic narrative but also other less respectable having to do with pure confabulation, malicious parody, sincere lies, speculation kamikaze, the blunder free immediate irresponsibility, etc ... or what amounts to the same, the Punk Journalism also traffics in lies because he knows what he is saying is true. " If you've read HST, especially the post- Hell's Angels, one is just all kinds of traps disreputable (pure fable, parody malicious lies sincere, speculation kamikaze, the blunder free, irresponsibility immediately) so that there is no justification for a new label. In short, is a fictional label which creates confusion and some notoriety, with the complicity of editorial interest, which does not mean that the novel has passages critical content, thugs and entertaining but for the amusement of the author in the flesh.
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