Variaciones sobre la pintura inglesa en la narrativa de Margo Glantz

Abstract

This paper analyses the dialogue between the discourse on painting and the discourse on literature in Saña, Historia de una mujer que caminó por la vida con zapatos de diseñador y Por breve herida, by Margo Glantz, focusing on Francis Bacon and his paintings. We read this relation in two levels: by comprehending Glantz's narrative as a textuality that opens up to the voices of others – painters, in this case – where there is no pre-eminence of one discourse above other, and by considering, in particular, Bacon's Inocencio X portraits as variation of Velázquez's painting or others, which produce an echo of Picasso's paintings, as a discourse that set up a poetics similar to the one that organizes the texts of the Mexican writer. We punctually allude to the quotation, the self-quotation, the variation, and the dislocation of fragments.