The difference being there: From manners to the history of this: the challenges of journalism narrative in Peru
Toño ANGLE DANERI
The Chronicle, the incestuous daughter of history and literature, existed long before journalism. Born of two wills, that of narrating and understanding the world, the wrong way to conceive of modern journalism has faded to give way to a third, often dogmatic and exclusionary: a willingness to give information. Journalism dominates today is as stubborn and headstrong grandson of the chronicle that refuses to accept the best of the inheritance of his grandmother. Journalism is a notary, certifying what some people say and gives important account of what happens, but has neither said anything. The news, in essence, has no background or consequential damages. It need not be followed or lose interest in depth because of the unique, unusual and unique. In short, is a journalism that casts amnesia to forget one of the most necessary social responsibilities: being a memoir of his time. Hayden White, American essayist, says that the only thing a man can truly understand are the stories: all that remains in memory and transformed into knowledge. White explains it best: "We can not understand the philosophy or system of thought of another culture, but have much less difficulty understanding a story that comes from another culture, we seem more exotic. "So, tell a reality is the best thing you can do to understand it, and make others understand it. Tomas Eloy Martinez also points out that narrative has the same origin remote Discovered a Sanskrit word, gna, which means knowledge. The difference with the simple desire to inform is obvious. It's like telling the reader: "I do not care to understand. I just acknowledge you know. "At what point Peruvian journalists fell asleep in the most interesting part of the movie? Chroniclers have told us the conquest of Peru and America, as Cieza de León, Pedro Pizarro and Bernal Diaz del Castillo, were witnesses and protagonists of the events narrated. This is another key idea: to witness, not just mere collector and data transmitter. Or rather, be there to share life events through a story that is both historical, literary and, I dare say-so journalism. Those writers told not only what they saw and heard, but also what they felt, ate, smelled, saw and touched. Mario Vargas Llosa has compared with those who came later, as Inca Garcilaso de la Vega and Father de las Casas, and noted pioneer in the value of the immediacy of journalism. That is, although they had to write about what was happening at that moment, this was not an excuse for a lack of overarching ambition to understand it all, including before and now. There rigor in the chroniclers of the conquest and uncompromising determination to narrate reality in its entirety. Someone who has spent much of his life to studying these chronic Someda Hidefuji Japanese historian says that the word chronic is used then as synonymous with history. "Less than chronological, but with the critical spirit and the intention to investigate and clarify the truth, not only of contemporary events [that time], but the last time." It is clear that if we tried to verify those truths from the criteria of journalistic objectivity is taught today in universities and schools, no chronicler of the sixteenth and seventeenth centuries would pass the test. They mixed the information with their personal trials, the events with the ideas of his time, and reality with fantasy, myths and legends they heard in their wake. But do their stories do not have today the value of historical documents from that time? The answer is yes and the argument is obvious. Beyond the sirens that some thought they saw in the Amazon, encouraged an honest vocation: to understand and relate to the greatest extent possible a fabulous reality not look anything like they had known before that time. Since then, good review had already identified the most outstanding journalism forever. Thorough and careful research. Historical sense of time and place where the events occurred. Imagination to see the reality of scenes, episodes and images (given that imagination comes precisely from the word "image"). Critical approach to sources of information. Logical argument. Clear and vigorous narrative. Skepticism and doubt and ask questions about everything-as the only statement of faith. Personal view (who is a witness) and explicit. Honesty with making characters behave in such chronic how they lived their lives in reality. And, of course, an unwavering desire to understand and make others understand. Thus, if the review is the grandmother of modern journalism, it is clear that journalism was born to tell stories. Albert Chillon, a Catalan considered one of the researchers most implacable of narrative journalism, has signed a common birth between journalism and the modern novel. For him, the journal of the Plague Year Daniel Defoe published in 1722 is the first known novel chronic. Chillon said: "The whole book reveals the writer's effort to combine the rigor requirement of information to build a story in which the figures the testimony, data, places and characters acquire relief, volume and density. "Defoe tells thoroughly bubonic plague epidemic that sickened and killed thousands of Britons in London back in 1665. It behaves as a witness account, reported and described. Displays and interprets the facts. Try to understand and comprehend. His book is history and literature, but also, in essence, is a chronicle. Therefore, THE JOURNAL OF THE PLAGUE YEAR is an example of the best journalism all time.>>> Recently, a friend asked me why the Peruvian chroniclers of this period write as narrators Traditionalists of the nineteenth century and early twentieth century. Costumbrismo means almost a dirty word in Peru. He even tells a joke that says that if Kafka had been born in this country, would have been a writer of manners. What my friend wanted to tell me that subtly, without making further efforts to fully understand the reality of today's chroniclers fragmentary and superficial paint pictures from a simple and insignificant story, that really says little of the time and place where we live. This friend is a writer and makes his living catching spelling and syntax errors in several publications in Lima, so that you have read and read enough that your question was not answered just like that, carelessly. So I did not answer. Remember who once defended the manners using as a shield this idea of \u200b\u200bCarlos Monsivais in key bolero: "Our customs are the first utopia that inadvertently inhabit. are essential for determining mold our identity and envision our future." However, now that I think, I must confess I do believe that the greatest shortcoming of the review that is written today in Peru is the same as that objectivist journalism that, in theory, should refute: superficiality. The few reviews that are published in Peruvian newspapers remain in the glory and the misery of the raconteur. Worse, the picturesque. It is as if the editors and writers interested in looking chronicles the country, and this is, at best Lima, the capital, only to discover within its folds to the characters and the most banal situations with the sole condition that they are entertained at the time of writing (and reading). Chronicles pleasant, picturesque, maudlin or melodramatic, that is the journalistic assignment to go out looking for cases of "human interest." That is their poverty. We reason Manuel Gutiérrez Nájera: "The pen of the chronicler has teeth that bite from time to time, but without blood." If journalism is more civically engaged with the reality of a country, that so-called journalism research report, it is often boring and overused statements of political opportunists in forever, what have we done to change the chroniclers? With few exceptions, such as Luis Jochamowitz profiles of Fujimori and Montesinos, and chronicles decades Jorge Salazar about some murders that put the nation's head, we have limited entertainment. The few pages devoted to the chronicle in newspapers and magazines today are like our television journalism. They are there to entertain, to draw the most spectacular holes, holidays, fanciful, zany or miserable reality, but almost never to understand. Are the series or prime-time comedies which provides the screen before or after the news of the news. Of all the definitions that I found on journalistic genre chronic and I'll take two. One is the very Monsiváis: "It is a story of reality in which formal ambition is at par with the rigor of information." Ie commitment to the truth through a thorough investigation and aesthetic commitment to the word. The second definition is John Villoro, one Mexican, who calls the platypus chronicle of prose: a rare specimen of the craft of writing that is several things at once. Is journalism but also literature. It is narrative and essay. History and drama. Narrative and reflection intellectual. "The review has served to vent things that can not be said in another way," writes Villoro, and gives the example of the slaughter of Mexican students in Tlatelolco Square in 1968. "There was a very thin coverage. The books [who later wrote about the issue] helped to establish a memory that he was at the mercy of oblivion. There were the real news of the student movement." If there are omissions in the Peruvian press as much or more obvious, why are so few books published with the intention to collect the rematch? Jorge Cornejo Polar, a Peruvian historian and literary critic, has unveiled the vices of manners. "No question las causas de aquello que describe ni indaga por los problemas subyacentes a la superficie social, que es lo que básicamente le atrae". Para él, costumbrismo es el relato de lo superficial y, por ello, conformista. No le interesa descubrir la dimensión humana e histórica de un personaje o un suceso, sino que le basta su gracia: su carácter ameno y entretenido. No su repercusión social, sino su índole anecdótica. José Miguel Oviedo, tal vez el más universal de los críticos literarios peruanos, le da la razón a Cornejo. Refiriéndose a las TRADICIONES de Ricardo Palma, dice que el retrato de costumbres es "esa historia menuda" que permite al escritor protegerse de toda sospecha. "Ni liberal intransigente nor entirely retrograde. A very average locals, very lax. "Palma himself acknowledged in THE KING OF MONTE this superficiality:" The barbaric manner as they were treated the unhappy blacks brought from Africa, traffickers in human flesh are not matters for items lightweight nature of my traditions. "The same holds true for editors and writers of chronicles of Peruvian newspapers century. The difference is that not even dare to think.>>> What is the vaccine that could avert this epidemic manners and more contagious Peruvian variant, the picturesque? Timothy Garton Ash, a British historian and journalist, witness the changes in Europe during and after the collapse of socialist systems of government, offers a recipe that gives title to one of his books: HISTORY OF THIS. However, he throws the hair on his plate and wondered if it makes sense to talk about this story. Can there be something? Does this story and are not contradictory words by definition? Both academics and ordinary people, says Garton Ash, understand history as an account of past events. I read the dictionary and see which is right: "History: A study of past events relating to man and human societies. 2. Story of past events, especially when it comes to a story in chronological order and verified by the methods of historical criticism. "So? remember this quote from Ramon de Valle-Inclán:" This is not history yet, but it has counted more realistic ways ". The English writer thought the same thing: that this can not claim to be history (not yet at least), but the irony contained a powerful idea: that an account of this is more realistic than any story of the past. The In other words, truth and history, understood as a count of yesterday, they would not necessarily synonymous. Garton Ash reminds her once German historian Koselleck, who said that since the time of Thucydides until well into the eighteenth century, have been an eyewitness of the events described or, better yet, have intervened directly in them, was considered a key advantage when it comes to telling the story of an event, a person or a nation. But most people, here and around the world, does not think so. It begs the need is to spend a minimum of time and be available to certain types of documentary sources for a paper on an event to acquire the academic history. "It's a very strange idea," says Garton Ash. "It means to say that this person who was not there knows better than itself was." Be there. Witness. Look, listen, feel, smell, eat, touch, feel, learn through the senses. A historian and a novelist can very well tell a war without ever even having set foot in a shooting club. A journalist has to be there. I think that's the great advantage lost on the editors and writers of chronicles in Peru. It is as if we refused the right to voluntarily join the reality and understand it. As if in spite of knowing that the grandmother of modern journalism has a fabulous inheritance waiting for us, currency prefiriésemos brief statements, the summary Telegraph and notary certification. That is, the wealth starved objectivism. From my point of view, the challenge of narrative journalism is to revisit that area in which the ambition of the history, literature and imagination of the veracity of journalism meet. Here, in Peru, there is still much to tell, much to comprehend. The single will inform, by now, should be cedérsela to radio, television and the Internet. In fact, I think you do best. SOMMELIER [1] The pages devoted to the chronicle now are like our television journalism. They are there to entertain, not to understand reality [2] A historian and a novelist can well tell a war without ever even having set foot in a shooting club. A journalist has to be there [3] The simple desire to inform the reader says: "I do not care to understand. I just acknowledge you know." Journalism is done for the amnesia Toño Angulo Daneri is chalaco voluntarily and journalist for the same reason. He studied in San Marcos and while he was Sunday editor of The Republic received an honorable mention for the story of a thousand words Caretas. He was a columnist for the newspaper El Comercio. He is currently Editor of Etiqueta Negra and professor at the UPC, which is contagious to his students the desire to look to human subjectivity daily events.
" God save me from this situation, I certainly will not kill again anyone else, for goodness' sake I have fear for a fuck I am mortal, and who the fuck is going to kill me?. Yes, to me that any kid in a couple of seconds with a stone I can break your skull and disappears as if nothing had happened to this fucking earth. " 
(enough to laugh and understand the hatred that keeps that little chest stateless born in Medellín, as if the Innocent Colombia would have the guilt having given birth to such a pariah of ordinary humanity) "Lady of the Assassins" and "THE desbarrancadero" 
She is 17, lives in Magdalena del Mar with a younger brother, James, who at age 15 has a Mercedes Benz 300 SL, parents do not know much, if children the owner of a prestigious firm are a mystery. and Lily and James had been so since their kindergarten Garden, which was when Dad and Dona Ximena Sebastian moved to Germany, leaving Miss Lili and Srto. Martina Sebastian in custody, the faithful housekeeper martial of Malageña Saenz. 
Hail Mary ( coma) full of grace (semicolon) The Lord is with (dot) be blessed among women ybentido the fruit of thy womb, Jesus (point) 
my parents already knew of my sex, I almost bit Intersaba the news was a gray afternoon June 20, 1987 in an overwhelming road of Jesus Maria in Lima, Peru, Country of South America with more than half of its population living in a situation inidgencia located resigned on Planet Earth to die for global warming in the Milky Way. My father, who hesitantly replies that he is happy for my birth, in his worn pockets revuleve the qu 
coins sun ince you have paid for the roof purge Doña Jimena 
