Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts - (Purdue Studies in Romance Literatures) by Rolando Pérez (Paperback)

About the Book

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto Gonzlez Echevarra, Ren Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, first, to his theory, and second, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Prezs book undertakes a critical approach to Sarduys essaysBarroco, Escrito sobre un cuerpo, Barroco y neobarroco, and La simulacinfrom the stand point of art history. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. It will be a book that many a critic of Sarduy and the Latin American baroque will consult in years to come.

Book Synopsis

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays--Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación--from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.

About the Author

Rolando Pérez, Hunter College, CUNY, has published in a variety of disciplines, ranging from philosophy and literary criticism to poetry and fiction. Some of his books include Severo Sarduy and the Religion of the Text (1988), On An(archy) and Schizoanalysis (1990), and The Linings of Our Souls: Excursions into Selected Paintings of Edward Hopper (2003). He is also the author of numerous of essays on Severo Sarduy, José Asuncin Silva, César Vallejo, Alejandra Pizarnik, Octavio Paz, and others. Selections from his creative work appear in The Norton Anthology of Latino Literature (2010).