El cuchillo que faltaba en el matadero argentino: ?Entonces apareció El fiord (1969)?. Materialidad de la lengua y de lo autobiográfico en El fiord (1969) de Osvaldo Lamborghini

Article

Authorship

PÉREZ, AGUSTINA JAZMÍN

Date

2025

Publishing House and Editing Place

Instituto de Literatura Argentina Ricardo Rojas. Facultad de Filosofía y Letras. UBA

Magazine

EL MATADERO. Revista crítica de literatura argentina (pp. 78-93) - ISSN 0329-9546
Instituto de Literatura Argentina Ricardo Rojas. Facultad de Filosofía y Letras. UBA

ISSN

0329-9546

Summary Information provided by the agent in SIGEVA

This article examines the first literary work of Argentine artist Osvaldo Lamborghini from a materialist perspective, focusing on two key dimensions: the materiality of language and the materiality of autobiography. Published in 1969 by the elusive Ediciones Chinatown, El fiord –55 years after its release– continues to exert its unsettling effects on national literature. Through a literalist reading, the study explores its role as an initiatory text within Lamborghini’s oeuvre... This article examines the first literary work of Argentine artist Osvaldo Lamborghini from a materialist perspective, focusing on two key dimensions: the materiality of language and the materiality of autobiography. Published in 1969 by the elusive Ediciones Chinatown, El fiord –55 years after its release– continues to exert its unsettling effects on national literature. Through a literalist reading, the study explores its role as an initiatory text within Lamborghini’s oeuvre (and within a new wave of Argentine writing), situating it in dialogue with Esteban Echeverría’s El matadero (1871). The analysis interrogates El fiord’s connections to Lamborghini’s later works, with particular attention to Sebregondi retrocede (1973), a disquieting text published in 1973 but composed contemporaneously with El fiord (1969). Finally, the article proposes how these linguistic and autobiographical materialities intertwine, a gesture that would become a defining feature of Lamborghini’s subsequent poetic, visual, and object-based production.