Perera San Martín -- False Attributions to Florencio Sánchez

7/21/2019 Perera San Martn -- False Attributions to Florencio Snchez

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Perera san Martn, Nicasio. Las falsas atribuciones a Florencio Snchez. Letras Uruguay:Portal de difusin de literatura Uruguaya y Latinoamericana. 30 Au. !0"!. #eb. !$ Mar. !0"%.

&he false attributions to Florencio Snchezb' Nicasio San Martin [email protected]

Since this issue generated a controversy in the Uruguayan

press, and the work that occasioned it remains unpublished,

we chose to go public on the Internet, just as we sent it inJanuary to the iblioteca !acional de "ontevideo and as an

#rgentine researcher brought it to the Instituto de $studios

%eatrales de uenos #ires shortly thereafter. &erhaps there

are some details to be corrected, but that is almost alwaysthe case when one closes an investigation. It seems

preferable, however, that the public that witnessed the

controversy should be provided with a key document.

'e will append a chronology of key interventions in the

field, at the risk of some repetition.Saint()erblain, Auust 30, !0"!.

Nicasio San Martin Perera

Las falsas atribuciones a Florencio Snchez*or Nicasio Perera San [email protected]

(omo este asunto gener) una pol*mica en la prensa

uruguaya, y el trabajo +ue la ocasion) sigue in*dito,

optamos por hacerlo pblico por Internet, tal como loenviamos en enero a la iblioteca !acional de "ontevideo

y como una investigadora argentina lo hi-o llegar al Instituto

de $studios %eatrales de uenos #ires poco tiempo despu*s.

oy habr/a, tal ve-, algunos detalles +ue corregir, pero esees casi siempre el caso cuando uno cierra una investigaci)n.

&ero nos parece preferible +ue el pblico +ue sigui) la

pol*mica disponga del elemento central.

0o acompa1amos con una (ronolog/a de las principales

intervenciones en el tema, arriesgando ciertas repeticiones.Saint()erblain, 30 +e aosto +e !0"!.

Nicasio Perera San Martn

&racin a blun+er

&o aesar -hat belons to aesar ...

To Danilo Silva Rodrguez, wose ouse !tacames

"Province of #smeraldas, #cuador$, %ut an end to tis

wor&'

In a recent publication,Florencio Snchez. El escritor en sucentenario 234, we committed a major error5 we attributedto 6lorencio the pseudonym 7Jack the 8ipper,9 that in

reality, the author never used, and thus we attributed to him

the te:ts published under that pseudonym in the journal 0##0;8#> y diciembre de 3=>?, bajo

dicho pseud)nimo.


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6lorencio, and in particular on the fact that in this count

greater inconsistency appeared as the simultaneous use ofseveral, particularly between 3=>> and 3=>?.

%his led to a lengthy investigation, in which it is shown that6lorencio never signed himself 7Jack the 8ipper9 and that

the te:ts in +uestion belong to another writer.

'e will summari-e it here in order to reestablish the truth

and for the edification of future researchers.

intencionalidad de la profusi)n de pseud)nimos utili-ados

por 6lorencio, y en particular sobre el hecho de +ue, en eserecuento, aparec/a como incoherencia mayor el uso

simultFneo de varios, en particular entre 3=>> y 3=>?.

%odo ello nos llev) a una larga investigaci)n, en la +ue

+ueda demostrado +ue 6lorencio nunca firm) 7Jack the

8ipper9 y +ue los te:tos en cuesti)n pertenecen a otro

escritor.0a resumimos a+u/, para restablecer la verdad, y para

edificaci)n de futuros investigadores.

LA AL2A4A

6irst, e:amination of the te:ts published in 0#

#0;8#, theyear that he published Cartas de un flojo in uenos #ires,

and reads them in "ontevideo, in the (entro Internacional

de $studios Sociales 2an anarchist educational institution4.

Second, for a connoisseur of the work and the creative mode

6lorencio, the regularity of such collaborations E?B in justover three years and a halfH is simply implausible. 6lorencio

never worked so assiduously as with any publication, and

was not a man to take care of several things simultaneously.

It is therefore inconceivable that have done it,contemporaneously with the publication of Cartas de un

flojo, El caudillaje criminal en Sudamrica and his early

plays5La gente honesta, Canillita, !hijo el dotor.

6inally, the titles of the series, as well as some te:ts are also

suspects. (onsider some e:amples5 78ayos cat)dicos9

appearing as the main title, followed by a secondary title, in

seven of the thirtyGfour articles 0# #0;8#, is a word of #raucanian origin, which refers to a kindof headache, or to other ailments, in (hile, and was never

used in our region.

78ayos cat)dicos. %odos a vacaciones,9 published on "arch

3C, 3=>?, also shows its foreign origin. It seems hardly

necessary to say5 in the 8/o de la &lata region we say

7vamos de vacaciones9 and 7vamos a vacaciones.9

If we now enter the te:ts themselves, do not know where to

start. Since we storying our research, letMs start the story. %he

first te:t which gave a jolt to the "useum of the !ational0ibrary of "ontevideo, and the intimate conviction of being

in a attribution error was 7;ros son triunfos9, published on

LA AL2A4A

$n primer lugar, la compulsa de los te:tos aparecidos en 0#

#0;8#?, tambi*n estF mostrando su origene:tranjero. &arece casi innecesario decirlo5 en el 8/o de la

&lata vamos de vacaciones y no a vacaciones.

Si entramos ahora en los te:tos propiamente dichos, no sesabe por d)nde empe-ar. Na +ue vamos historiando nuestra

investigaci)n, empecemos por la an*cdota. $l primer te:to
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>. %his is a dialogue between a black and a

white woman. It starts with a compliment, followed by aflirtation and various arguments. %he woman, who initially

responds angrily, and even insulting to black, goes with him,

when he discovers a thick wad of cash in your pocket. It is a

racist, misogynist, se:ist te:tO today, under the reign offeminism, it would be unprintable. owever, 6lorencio was

never racist, nor misogynist, nor se:ist. "oreover, the

caricature of black speech is totally foreign to therioplatense coding of such forms of orality. %hat te:t alone

is enough to render the attribution indefensible.

If there is something distinctive about 6lorencio, it isun+uestionably his reproduction of the phonics, vocabulary

and synta: of thegauchoand cocolichesociolects. e never

tried to reproduce the speech of blacks Eincluding "ama

8ita, the black healer in"hijo el dotor,is characteri-ed byitsgauchosociolect but does not demonstrate any PblackP

traitsH. "eanwhile, the speech of the black character in

7;ros son triunfos9 has some features of the codification of

blackGspeaking (aribbean, which is enough to place itoutside the 8/o de la &lata region.

If we now consider another te:t, 7%ertulias de botica.

(encerrada candilesca9 E0# #0;8#L.>.>?H, theconclusions will lead us are similar. %his is a controversial

article of poetic material, containing a violent attack against

the (uban critic and writer 6ray (andil2=4,and a vigorousdefense of some of 7our best poets,9 noting the names ofthree or four $cuadorian writers, perfectly unknown in the

8/o de la &lata. 'e need not emphasi-e that 6lorencio never

involved himself in any literary controversy, never dealt

with poetry, and probably never heard of 6ray (andil nor theother poets mentioned. owever, this article has the virtue

of leading us to $cuador.

#lso leading us in this direction are various references to thecity of Quaya+uil, scattered in different te:ts and reinforcing

the hypothesis that 7Jack the 8ipper9 was an $cuadorian

writer. E'e will not inform Scotland Nard, which is stilllooking for himH.

In any case, and leaving aside many other considerations

that would make this article too wordy, let us start from theconviction that these te:ts are not authored by 6lorencio

SFnche-, and from the idea that 'alter 8ela, who made this

attribution, who nevertheless painstakingly restored the

pagination, sporadic and irregular in 0# #0;8#H and then in

$0 S;0 in uenos #ires E>3.>?.=>3H. %he same is true of70os cachalotes9 E0# #0;8#.3.=>>H and

(#8#S N (#8$%#S, s. #s., 3D.33.=>3 and 7$l mundo

elegante9 E0# #0;8#.>3.=>3H and (#8#S N(#8$%#S, s. #s., >.33.=>3.

It is obvious that none of these newspapers had published

+ue nos dio un sobresalto en el "useo de la iblioteca

!acional de "ontevideo, y la /ntima convicci)n de estarante un error de atribuci)n fue 7;ros son triunfos9,

publicado el de diciembre de 3=>>. Se trata de un diFlogo

entre un negro y una mujer blanca. $mpie-a con un piropo,

sigue con re+uiebros y argumentos diversos. 0a mujer, +ueal principio responde airada, e incluso insulta al negro, se va

con *l, cuando descubre un grueso fajo de billetes en su

bolsillo. $s un te:to racista, mis)gino, machista, +ue hoy,bajo el reino del feminismo, ser/a impublicable. #hora bien,

6lorencio nunca fue ni racista, ni mis)gino, ni machista. &or

otra parte, la caricatura del habla del negro es totalmente

e:tra1a a la codificaci)n rioplatense de dichas formas deoralidad. # partir de ese solo te:to, la atribuci)n es

indefendible.

Si por algo brill) 6lorencio, de manera indiscutible, es por lareproducci)n de la fon*tica, el l*:ico y la sinta:is de los

sociolectos gauchesco y cocoliche. !unca intent) reproducir

el habla de los negros Eincluso "ama 8ita, la negra

curandera de"hijo el dotor, se caracteri-a por su sociolectogauchesco, pero no vehicula ningn rasgo 7negro9H. &or su

parte, el habla del negro de 7;ros son triunfos9 tiene

algunas caracter/sticas de la codificaci)n del habla negra del

(aribe, lo +ue nos sita ya bastante lejos del 8/o de la &lata.

Si consideramos ahora otro te:to, 7%ertulias de botica.

(encerrada candilesca9, E0# #0;8#L.>.>?H, las

conclusiones a +ue nos va a llevar son similares. Se trata deun art/culo pol*mico, de materia po*tica, +ue contiene un

violento ata+ue al cr/tico y escritor cubano 6ray (andil 2=4,y una vigorosa defensa de algunos de 7nuestros mejores

poetas9, se1alando los nombres de tres o cuatro escritoresecuatorianos, perfectamente desconocidos en el 8/o de la

&lata. uelga subrayar +ue 6lorencio no particip) nunca en

ninguna pol*mica literaria, no se ocup) jamFs de poes/a, yprobablemente nunca oy) hablar ni de 6ray (andil, ni de los

poetas de marras. %iene sin embargo el art/culo la virtud de

orientarnos, a trav*s del posesivo, hacia el $cuador.

;rientaci)n coincidente con la +ue aportan distintas

referencias a la ciudad de Quaya+uil, diseminadas en

diferentes te:tos, y +ue confortan la hip)tesis de +ue 7Jack

the 8ipper9 ser/a un escritor ecuatoriano. E!o se lo vayan adecir a Scotland Nard, +ue todav/a lo estF buscandoH.

$n todo caso, y dejando de lado otras muchas

consideraciones +ue har/an este art/culo muy farragoso,partimos de la convicci)n de +ue esos te:tos no son de

6lorencio SFnche-, y de la idea de +ue 'alter 8ela, autor de

la atribuci)n, +uien sin embargo restituy) minuciosamentela paginaci)n, esporFdica e irregular en 0# #0;8#H y luego en $0 S;0 de uenos

#ires E>3.>?.=>3H. ;tro tanto cabe decir de 70os cachalotes9
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together articles by different authors under the same

pseudonym. 0ogical conclusion5 6lorencio never published

anything in 0# #0;8#4or (#8#S N (#8$%#S

2334. #s for $0 S;0, 6lorencio signed his name ECartas deun flojo, September and ;ctober 3=>>H or used the

pseudonym 70uciano Stein9 E70a nena y el jue-9,

B.>B.=>>O 70as se1oras de &. y R.9, >3.3>.=>>O 7$l nuevo

affiche9, >L.3>.=>> y 7&edro y Juan9, B.3>.=>>H.Qiven the circulation between the two capitals at that time,

both of publications and of intellectuals, it is clear that both

in 0# #0;8#>H y (#8#S N (#8$%#S, s.

#s., 3D.33.=>3 y de 7$l mundo elegante9 E0# #0;8#.>3.=>3H y (#8#S N (#8$%#S, s. #s., >.33.=>3.

$s obvio +ue ninguno de esos peri)dicos hubiera publicadoal mismo tiempo art/culos de diferentes autores bajo el

mismo pseud)nimo. (onclusi)n l)gica5 6lorencio nunca

public) nada ni en 0# #0;8#4,ni en (#8#S N

(#8$%#S. 2334 $n cuanto a $0 S;0, 6lorencio firmabacon su nombre E Cartas de un flojo, setiembre y octubre de

3=>>H o con el pseud)nimo 70uciano Stein9 E70a nena y el

jue-9, B.>B.=>>O 70as se1oras de &. y R.9, >3.3>.=>>O 7$l

nuevo affiche9, >L.3>.=>> y 7&edro y Juan9, B.3>.=>>H.


5/16

6rancisco uerta, who calls him the 7spiritual grandfather of

the $cuadorian vernacular novel9 and no less a critic thanenjam/n (arri)n devotes several pages and numerous

references to him.23C4e also recalls that in his youth, heand his family waited an:iously, on "onday, for theappearance of a new installment of 78ayos cat)dicos9.

!ot having found in 6rance no copy of works by Jos*

#ntonio (ampos, the Internet search led us to the !ational0ibrary in "adrid, where we find the two volumes of a 3=33

edition of#a'os cat(dicos ' fuegos fatuos.23D4

In the first volume appear 7$l lenguaje de las frutas9 Ep. >GH, 7$l gallo del moribundo9 Ep. 3>G33>H and 7$l original

y la copia9 Ep. >?G>CH, or either three te:ts published in

0# #0;8#H, 7$l triunfo del negro9 Ep. 3>BG3>H, 7$l tal)n de#+uiles9 Ep. 33BG33H, 7(arta canta9 Ep. 3CDG3C=H, 7(iencia

pol/tica9 Ep.3G3BH y 7itter con sif)n9 Ep. BGDH, or

si: te:ts published in 0# #0;8#


6/16

cat(dicos ' fuegos fatuos 23L4O in 3=3=, Cintas alegres*+ro'ecciones c(micas de la $ida culta ' de la $ida rstica-in 3==, Cosas de mi tierraand even after the author died

in 3=BB, the &hilanthropic Society of Quayas published

Linterna mgica and in 3=D> %he 7iblioteca ecuatorianam/nima9 included him among the best $cuadorian writers.

It added that, as a journalist, he became nationally famous

with his Cr(nica del /ran 0ncendio de /ua'a1uil en 2345and withLos cr6menes de /alpagos.El +irata del /ua'as.

oth works were published in the form of volumes of mass

circulation, such as those that, today, are fre+uently

published by 6rench, Italian or Uruguayan journalists, tocite e:amples we know well, or like Qabriel Qarc/a

"Fr+ue-As styli-ed#elato de un nufrago.

#lthough we have briefly summari-ed an e:tremely broadand versatile body of work, we can say that we are far from

the image of an obscure writer.

0iterary critics have particularly appreciated his role as a

costumbrista 2investigator of social mores4, through his

reproduction of the traditions, customs, lifestyles and speech

patterns of the peasants living off the coast of the Quayas

asin, the montu$ios.23=4In this respect, he is regarded asa pioneer with a decisive influence on the development of

the $cuadorian narrative, the development of which came

later than that of the 8/o de la &lata, that is to say.

%he other distinctive trait that has been noted is his use of

humor, mainly in the form of a satirical tone T a trait of

which Jos* #ntonio (ampos was +uite proud, e:plainingthat he got his nickname because his readers 7bust their guts

laughing.9

6rom our point of view, finally, it is notable that, althoughhis #a'os cat(dicos take on many forms Esome in verse,

others which present long lists of aphorismsH, his main formis the dialogue, which he writes with great vivacity and

fluency.

!eedless to emphasi-e that the last two traits T also parallel

to 6lorencio T may have encouraged the erroneousattributions.

6or its part, the consultation of the collections of the

emeroteca de la iblioteca de #utores $cuatorianos7(arlos #. 8olando,9 also in Quaya+uil, allowed us to

identify numerous te:ts in their original publication. 2>4

In fact, we made e:tensive surveys, since Jos* #ntonio

(ampos was a simple reporter, an editor of the literary

section, a managing editor, and the director and founder ofso many newspapers around the period 3L=LG3=>?, we haddetermined in advance that, for obvious reasons, an

e:haustive search would re+uire months of work.

;urs was limited mainly to $0 Q8I%;


7/16

efore reporting them, we should to point out two

insurmountable obstacles5 3H the inavailability of entireyears of a publication, or of certain issues from the available

years, or the very poor state of conservation of collectionsO

H working conditions in emeroteca, where we were not

allowed to consult both documents and to compare themwith books, (>.

H 78ayos cat)dicos. Una mala noche9 T

0demT >=.>.=>>.

LH 78ayos cat)dicos. 6ama barata9 T0dem

T ?>.>.=>>.

perdurables en Quaya+uil, con algn sondeo en $0

%I$"&;, en $0 Q0;; 0I%$8#8I; y en otrosperi)dicos regionales, si bien la totalidad de los te:tos

identificados provienen del primero. # ellos nos gui) la

e:celente biograf/a de 8odolfo &*re- &imentel. 234

#ntes de repertoriarlos, corresponde se1alar dos escollos

insalvables5 3H la falta de a1os enteros, o de ciertos nmeros

de los a1os e:istentes, o el muy precario estado deconservaci)n de las coleccionesO H las condiciones de

trabajo en la emeroteca no nos permit/an consultar a la ve-

los documentos y confrontarlos con libros, (< u otras

fuentes, de modo +ue la similitud de t/tulos Ea vecescambiadosH o de temas, puede habernos llevado a pasar por

alto alguno de los te:tos +ue buscFbamos.

(alculamos, a ojo de buen cubero, +ue Jos* #ntonio(ampos debe de haber escrito entre doscientos y trescientos

#a'os cat(dicos.&ero antes de +ue (ampos comen-ara a

firmarlos 7Jack the 8ipper9 y obtuviera, por as/ decirlo, la

e:clusividad de la especie,#a'os cat(dicosera una secci)npermanente de $0 Q8I%; >H en $0 Q8I%; .>L.=>>.

?H 70os cachalotes9 sale a la lu- el>C.33.=>>, en el mismo diario.

(omo vemos, tres de los cinco t/tulospublicados en #rgentina Edos en $0 S;0 y

uno en (#8#S N (#8$%#SH son

manifiestamente de Jos* #ntonio (ampos.

0os +ue aparecen e:clusivamente en 0##0;8#


8/16

=H 7;ros son triunfos9, under the title 7$l

triunfo del negro9, L.33.=L.

3>H 7%ertulias de botica. itter con sif)n,9

3=.33.=>>.

33H 7(arta canta,9 >L.>=.=>>.

3H 70a misma polca,9 L.>L.==.

If these twelve te:ts, we add the three listed since 3=33 inKolume I of #a'os cat(dicos and fatuous fires and both

contained in Kolume II, whose original publications notfound, we reached a total of seventeen te:ts5

3?H 7$l lenguaje de las frutas9 EI, p. >GH.

3BH 7$l gallo del moribundo9 EI, p. 3>G

33>H.

3CH 7$l original y la copia9 EI, p. >?G

>CH.

3DH 7uscando las espuelas9 EII, p. 3G>H.

3H 7lanco y negro9 EII, p. ??CG??LH.

%o give Jos* #ntonio (ampos credit Ea claim that shocked

readers in $cuadorH, let us note that we did find the original

versions of seven te:ts of Kolume I and the other twentyGthree in Kolume II. 'hereupon we would not doubt or

reservation as to the identity of 7Jack the 8ipper9.

#n identity that Uruguayans may find Eas they might havedone or 8oberto IbF1e- 'alter 8elaH in the files of the

iblioteca !acional Efirst floorH, where the files under the

name of Jack the 8ipper refer to Jos* #ntonio (ampos, and

vice versa, as fraternally as a handshake, once again leadingus away from Uruguay.

CH 7%auroma+uia9 T0dem ;>D.33.== .

DH 78ayos cat)dicos. $l tal)n de #+uiles9

T0demT 3L.>D.=>>.

H 78ayos cat)dicos. Una mala noche9 T

0demT >=.>.=>>.

LH 78ayos cat)dicos. 6ama barata9 T0dem

T ?>.>.=>>.=H 7;ros son triunfos9, bajo el t/tulo 7$l

triunfo del negro9, el L.33.=L.

3>H 7%ertulias de botica. itter con sif)n9

el 3=.33.=>>.

33H 7(arta canta9 el >L.>=.=>>.

3H 70a misma polca9 el L.>L.==.

Si a esos doce te:tos, les agregamos los tres +ue figuran

desde 3=33 en el %omo I de #a'os cat(dicos ' Fuegos

fatuos y los dos +ue figuran en el %omo II, cuyas

publicaciones originales no encontramos, llegamos a un

total de diecisiete te:tos5

3?H 7$l lenguaje de las frutas9 EI, p. >G

H.

3BH 7$l gallo del moribundo9 EI, p. 3>G33>H.

3CH 7$l original y la copia9 EI, p. >?G

>CH.

3DH 7uscando las espuelas9 EII, p. 3G>H.

3H 7lanco y negro9 EII, p. ??CG??LH.

&ara abonar la buena fe de Jos* #ntonio (ampos Epretensi)n

+ue escandali-ar/a a medio $cuadorH, se1alemos +ue s/encontramos las versiones originales de otros siete te:tos del

%omo I y de otros veintitr*s del %omo II. (on lo cualcreemos +ue no cabe la menor duda ni reserva en cuanto a la

identidad de 7Jack the 8ipper9.

Una identidad +ue los uruguayos podrFn constatar Ecomo

podr/an haberlo hecho 'alter 8ela o 8oberto IbF1e-H en losficheros de la iblioteca !acional E&lanta ajaH, donde las

fichas a nombre de Jack the 8ipper remiten a Jos* #ntonio

(ampos, y viceversa, como fraternalmente lo confirmaron

manos amigas, ya +ue otra ve- estFbamos lejos del Uruguay.

8&A5NB S&8PS

%he problems surrounding the pseudonym 7Jack the 8ipper9

start very early. In 3=3?, 6ederico "ertens publishes the

article already cited and custom attribute that signature to

articles published by the young SFnche- in "inas EQiusti,3=>O "art/ne- (uiti1o, 3=??, for e:ampleH is established.

In 3=?, 6ernando $steban Qarcia, who seems to have been

the first to see the collection of 0# K;V


9/16

of pseudon'ms, onte$ideo,(laudio Qarc/a, 3=B3, p. 3LG

3L?, +uotes copiously Qiusti and "artine- (uiti1o, but$steban Qarcia.24

Until then, it is only the use of the pseudonym and #rticlesof "inas.

#s we have seen, in 3=CB, Julio Imbert, while cogni-ant of

$steban QarciaAs remarks, deepens and aggravates the

problem, arguing the use of the pseudonym and publishingte:ts in $0 S;0 and (#8#S N (#8$%#S, as SFnche-.

%he credit which he gives to this notion leads to the rest ofthe errors, in future editions already mentioned.

6inally, if we place the bibliographies of 8ela and IbF1e-Asarticle in dialogue, we collect new grounds for reflection.

6or a second time, 2?48ela titled the te:t that appeared in0# #0;8#3.33.=>? 7Juegos fatuos 26oolishQames49 instead of 76uegos fatuos 2'ill oA the 'isps49.%hat

little mistake subsumes all the literary personality of

(ampos, who eagerly seeks to capture an image, as is

clearly indicated by the titles of his books5 #a'os cat(dicos

' Fuegos fatuos, Cintas alegres, Linterna mgica. Some ofthe titles published by that time 6lorencio $0 S;0, under

the pseudonym of 0uciano Stein, are also showing the strain

of writing, pointing to the discovery of the verbalformulation5 70as se1oras de &. y R.


10/16

confidences 6lorencio young IbargoyenH transmitted fortyG

si: years later E3L=LG3=BBH and pretend to pay it with similarargumentsX

H 6lorencio had no relations with the (entro Internacionalde $studios Sociales in "ontevideo before 6ebruary 3L==,

and therefore, his first piece is 70os curdas9.

%he source for thisX 8oberto IbF1e-As own deductions.

%he evidenceX In 3L=L he directed for three and a half

months a newspaper of the &artido !acional and in 3L==

tried unsuccessfully to premiere 70os curdas9 in uenos#ires.

eyond the basic weakness of the reasoning, 8oberto IbF1e-contradicts the whole critical tradition, based on testimonies

of the time, that has 6lorencio acting Eas he had in "inasH in

the amateur 2filodramtico4 theater company of the (entro,

performing plays in Spanish and Italian, presenting 7&uertasadentro9 and winning a contest with 7(anillita9 in 3L=.

2C4

'hatever credit is given to all this, the internal analysis of

the works becomes untenable thesis IbF1e- Ealready

sostuviera $steban Qarcia 2D4H. 70os curdas9 as we knowit Estaged in 3=>H is indubitably, going by the aesthetic,

stylistic and linguistic evidence, subse+uent to 70a gentehonesta9 E&erera, 3=CH. (an we assume that there was an

earlier version of 70os curdas9 that no one has seenX

Suppose, if you will, but 7&uertas adentro9 and the first

7(anillita,9 incipient works, are for the same aesthetic,stylistic and linguistic reasons, indubitably prior to the cycle

of sainetes EoneGact farcesH, prior to 70a gente honesta,9

much earlier than 70os curdas9 in 3=>. %his is the result of

studying the H, es, sin

lugar a dudas, por ra-ones est*ticas, estil/sticas yling/sticas, posterior a 70a gente honesta9 E&erera, 3=CH.

Y(abe suponer +ue hubo una versi)n anterior de 70os

curdas9, +ue nadie ha vistoX Supongamos, si se +uiere, pero

7&uertas adentro9 y el primer 7(anillita9, obras incipientes,son, por las mismas ra-ones, est*ticas, estil/sticas y

ling/sticas, sin lugar a dudas, anteriores al ciclo sainetero,

anteriores a 70a gente honesta9, muy anteriores a 70os

curdas9 de 3=>. %al el resultado del estudio +e la obra,despojado de consideraciones subjetivas.

$sta cuesti)n de las estrepitosas 7revelaciones9 de

aniversario se ha convertido en una tradici)n del discursocr/tico sobre SFnche-. (on motivo del centenario de su

muerte, #ntonio 0. %urnes 7revela9 +ue 6lorencio era

mas)n. 24


11/16

i-+uierda.

Un poco mFs seriamente EapenasH5 YcuFndo dejaremos de

manosear a la persona y la obra del mayor dramaturgo del

8/o de la &lataX

NLS5NS

ard as it may be to admit, and harm who it may, we must

draw certain conclusions. %he primary responsibility for thechain of editorial errors belongs to Julio Imbert.

Inspired by "ertens, Imbert made up a story, as he did with

respect to an alleged 7(anillita9 from 8osario E&erera, >p.

cit.p. LBH. #s in many other cases, the origin of the fable arethe PrevelationsP anniversary.

Second are responsible all the critics who believed fable and

disseminate without trying to verify its foundations. Specialmention for publishers E(uneo, p. cit.

p. LBH. (omo en muchos otros casos, el origen de la fFbulason las 7revelaciones9 de aniversario.

$n segundo lugar somos responsables todos los cr/ticos +ue

cre/mos la fFbula y la difundimos, sin tratar de verificar susfundamentos. "enci)n especial para los editores E(neo,


12/16

article by "ertens EQiusti E8oberto 6.H GFlorencio Snchez

?is life. his , p. H. e also +uestions the authorship of 70a

Justicia en (hina9 and 7(iencia pol/tica9 E >p. cit.p. ?DH,

implying that they could be attributed to SFnche-.

3=?=5 %he publisher $rcilla in Santiago de (hile, published

the only work submitted to a competition called in 3=?5

@ida de Florencio Snchez, the Uruguayan architect6ernando Qarc/a $steban.%he out of print, and the closed

publisher, today we know the work, usually through the

revised edition published in "ontevideo in 3=>. %here,

$steban Qarcia denies emphatically that 6lorencio has everused the pseudonym 7Jack the 8ipper9. %o his credit5

$steban Qarcia seems to be the first to be consulted

collections of 0# K;V ,

which we have not consultedH but does not mention

6ernando Qarc/a $steban.

3=CB5 Julio Imbert, while citing $steban Qarc/a several

times, ignores his arguments around 7Jack the 8ipper9, andnot only reiterates the error, it gives an iconic character. e

is the first to publish 70a justicia en (hina9, 7(iencia

pol/tica9, 7$l hombre de la situaci)n9, 7$l mundo elegante9

and 70os cachalotes9 under the signature of 6lorencio

SFnche-. EImbert, EJulioH G Florencio Snchez. @ida 'creaci(n,uenos #ires, Schapire, 3=CB G #ppendi:, p ?>=G

?33, ?3G?3?, ?3?G?3C, ?3DG?3L and ?3LG?>, respectively.H.

3=D5 =G?33, ?3G?3?, ?3?G?3C, ?3DG?3L y ?3LG

?>, respectivamenteH.

3=D5


13/16

3=DL5 Jorge 0afforgue includes, in turn, edition of complete

works, the five te:ts e:humed by Imbert. ESFnche-E6lorencioH T Complete Bor=s, Introduction, compilation

and notes by Jorge 0afforgue, uenos #ires, Schapire

E7%atu9 BH vol. IH.

3=?5 'alter 8ela reiterates his false attributions to

6lorencio, although in some cases the notes specify

7(redited to 6S9 Ep. H or P#ttributed to 6SP E idemH. E8ela2'alter4 T#epertorio bibliogrfico anotado sobre Florencio

Snchez *23429242- *0-, Universidad de uenos #ires,

6acultad de 6ilosof/a y 0etras, Instituto de 0iteratura

#rgentina 78icardo 8ojas9, 3=?H.

3=C5 8oberto IbF1e- published an article in which, without

citing or $steban Qarc/a, or 'alter 8ela, flatly denies any

use of the pseudonym 7Jack the 8ipper9 by 6lorencio andtherefore the attributions of Julius Imbert E and, implicitly,

the 8elaH. It then e:amines some elements of certain te:ts of

0# #0;8#3>5 San "art/n !icasio &erera, citing various sources,attributed to 6lorencio the use of the pseudonym and te:ts

attributed to him by Imbert and 8ela, even while

+uestioning the profusion of pseudonyms between 3=>> and

3=>?. E&erera San "art/n 2!icasio4 TFlorencio Snchez. El

escritor en su centenario, uenos #ires, Simurg, >3>H.

>335 35 San "art/n !icasio &erera makes public the results ofmore than a year of investigation at a conference held in

&aris, "adrid and Quaya+uil, and taking as its starting point

the te:ts of 0# #0;8#3>5 !icasio &erera San "art/n, citando varios

antecedentes, atribuye a 6lorencio el uso del pseud)nimo y

los te:tos atribuidos por Imbert y por 8ela, aun+ue se

interroga sobre la profusi)n de pseud)nimos entre 3=>> y3=>?. E&erera San "art/n E!icasioH T Florencio Snchez. El

escritor en su centenario, uenos #ires, Simurg, >3>H.

>335 35 !icasio &erera San "art/n hace pblico, en una

conferencia, el resultado de una investigaci)n de mFs de un

a1o, reali-ada en &aris, "adrid y Quaya+uil, y +ue tienecomo punto de partida los te:tos de 0# #0;8#


14/16

representation of the black characterAs speech as (aribbean

in style. e rejects 7(encerrada candilesca9 for its subject,alien to SFnche-As concerns, but retaining the possessive

7our,9 referring to $cuadorian poets. e then reveals that

7Jack the 8ipper9 is Jos* #ntonio (ampos, and gives the

dates of the original publication, in Quaya+uil, of twelve ofthe thirtyGfour articles attributed to him by 8ela Eincluding

three of the five published in #rgentinaH. %he error seems to

have been definitely destroyed, nearly a century after"ertensAs article.

Nicasio P88A SAN MA&5N

no pertenecientes al habla comn rioplatense, los t/tulos

seriales E78ayos cat)dicos9H y los de algunos te:tosE7(havalongo9, 7%odos a vacaciones9H. 8echa-a 7;ros son

triunfos9 por ser un te:to racista, machista y mis)gino,

caracter/sticas ajenas a 6lorencio, y caracteri-a la

representaci)n del habla del negro como de tipo caribe1o.8echa-a 7(encerrada candilesca9 por su asunto, ajeno a las

preocupaciones de SFnche-, pero retiene el posesivo

7nuestros9, referido a poetas ecuatorianos. $ntonces revela+ue 7Jack the 8ipper9 es Jos* #ntonio (ampos, y da las

fechas de la publicaci)n original, en Quaya+uil, de doce de

los treinta y cuatro art/culos atribuidos por 8ela Eincluyendo

tres de los cinco publicados en #rgentinaH. $l error parecedefinitivamente destruido, casi un siglo despu*s del art/culo

de "ertens.

Nicasio P88A SAN MA&5N

eferences>

234 &erera San "artin E!icasioH T Florencio Snchez. El

escritor en su centenario, uenos #ires, Simurg, >3>.

24 Imbert EJulioH T Florencio Snchez. @ida ' creaci(n,uenos #ires, Schapire, 3=CB. Imbert not only says that

6lorencio used this pseudonym, but makes it into a kind of

iconic representation of SFnche-Ms personality. In an#ppendi:, he publishes 70a justicia en (hina9 Ep. ?>=G?33H,

7(iencia pol/tica9 Ep.?3G?3?H, 7$l hombre de la situaci)n9

Ep.?3?G?3CH, 7$l mundo elegante9 Ep. ?3DG?3LH y 70os

cachalotes9 Ep. ?3LG?>H, all signed 7Jack the 8ipper9.

2?4SFnche- E6lorencioH T Teatro completo ; ed. by G

B=LH.

2B4 SFnche- E6lorencioH T El caudillaje criminal en SudAmrica ' otras pginas, uenos #ires, $udeba, 3=DD.

Selection, presentation and notes by $. ". S.

234 &erera San "artin E!icasioH T Florencio Snchez. El

escritor en su centenario, uenos #ires, Simurg, >3>.

24 Imbert EJulioH T Florencio Snchez. @ida ' creaci(n,uenos #ires, Schapire, 3=CB. Imbert no s)lo afirma +ue

6lorencio utili-) dicho pseud)nimo, sino +ue lo convierte en

una especie de representaci)n emblemFtica de lapersonalidad de SFnche-. $n un #p*ndice publica 70a

justicia en (hina9 Ep. ?>=G?33H, 7(iencia pol/tica9 Ep.?3G

?3?H, 7$l hombre de la situaci)n9 Ep.?3?G?3CH, 7$l mundo

elegante9 Ep. ?3DG?3LH y 70os cachalotes9 Ep. ?3LG?>H,todos ellos firmados 7Jack the 8ipper9.

2?4 SFnche- E6lorencioH T Teatro completo ; $dici)n de

GB=LH.

2B4 SFnche- E6lorencioH T El caudillaje criminal en Sud

Amrica ' otras pginas, uenos #ires, $udeba, 3=DD.

Selecci)n, presentaci)n y notas de $. ". S.


15/16

iblioteca !acional de "ontevideo.

2L4 (onstancio (. Kigil E8ocha, 3LD G uenos #ires, 3=CBH.

%he future founder of I00I]$! E3=3=H, uenos #ires, was

a man of the right wing, who could be defined, in his work,as a (hristian moralist. 'e cannot imagine what relationship

he might have had with the fiery anarchist that 6lorencio

was in 3=>>.

2=4obadilla E$milioH T 76ray (andil9 E3LDG3=3H.

23>4 (onfirmation of the inconsistency noted above.

2334 %his detail sheds new light on El desalojo. %he

appearance there journalists of (#8#S N (#8$%#S, their

lackluster role, far from being a joke between friends, as wehad supposed E&erera, ;p. (it., &. 33DH, implies a profoundly

biting, sarcastic criticism.

234 It is fair to recogni-e that, at the time of its publication,other news from Uruguay 2following the military coup of

3=?\4 monopoli-ed our attention.

23?4 IbF1e- E8obertoH T 76lorencio SFnche-. #portes yenmiendas a su biograf/a9 en 8$KIS%# 4'e emphasi-e the aptitude and patient collaboration of

$sther (alder)n "arcillo.

234www.diccionariobiograficoecuador.com T Jos* #ntonio

(ampos "aing)n.24'e are indebted for the reproduction of these pages to

the invaluable and spontaneous collaboration of Qraciela

Quffanti of the iblioteca !acional de "ontevideo.

2?48ela T 3=D, p. B= y 3=?, p.3.

2B4 It might be appropriate to recall T the youngergeneration have no reason to remember this T that

tuberculosis and syphilis, considered incurable until the

emergence of sulfa drugs and antibiotics, wreaked havoc,

particularly during the period of industriali-ation, and were

colaboraci)n de #na In*s 0arre orges y de Qraciela

Quffanti, de la iblioteca !acional de "ontevideo.

2L4 (onstancio (. Kigil E8ocha, 3LD T uenos #ires,

3=CBH. $l futuro fundador de I00I]$! E3=3=H, en uenos#ires, era un hombre de derecha, a +uien se podr/a definir,

en su obra, como un moralista cristiano. !o acertamos a

imaginar +u* relaci)n hubiera podido tener con el sulfuroso

anar+uista +ue era 6lorencio en 3=>>.2=4 obadilla E$milioH T 76ray (andil9 E3LDG3=3H.

23>4 (onfirmaci)n de la incongruencia se1alada mFs arriba.

2334 $l detalle arroja nueva lu- sobre El desalojo. 0a

aparici)n all/ de los periodistas de (#8#S N (#8$%#S, sudeslucido papel, lejos de ser una broma entre amigos, como

supon/amos nosotros E&erera, >p. cit., p. 33DH, implica una

cr/tica sarcFstica profundamente acerba.

234 Justo es reconocer +ue, por la *poca de su publicaci)n,

otras eran las noticias de Uruguay +ue acaparaban nuestra

atenci)n.

23?4 IbF1e- E8obertoH T 76lorencio SFnche-. #portes y

enmiendas a su biograf/a9 en 8$KIS%# 4 ^ueremos destacar la idoneidad y la paciente

colaboraci)n de $sther (alder)n "arcillo.

234www.diccionariobiograficoecuador.com T Jos* #ntonio(ampos "aing)n.

24


16/16

at least among us 7family secrets9 alluded to by the

euphemisms 7pulmonar9 and 7espec/fico,9 respectively.

2C4%he 7Kersi)n "aestrini9 and the testimony of ianchi,

who participated in the same competition, seem to prove it.

2D4 Qarc/a $steban E6ernandoH T @ida de Florencio

Snchez23=?4, "ontevideo, #lfa, 3=>.

24%urnes E#ntonio 0.H TFlorencio Snchez.Los misteriosde su $ida, pasi(n ' muerte, "ontevideo, Qranada, >3>.

2L4www.logiama--ini.org.ar=3.

Nicasio P88A SAN MA&HN

n.*ereraI-ana+oo.fr

y los antibi)ticos, causaron estragos, en particular a partir

del desarrollo de la sociedad industrial, y eran Tal menosentre nosotrosT 7secretos de familia9 a los +ue se alud/a con

los eufemismos 7pulmonar9 y 7espec/fico9,

respectivamente.

2C40a `Kersi)n "aestrini y el testimonio de ianchi, +ue

particip) en el mismo concurso, parecen probarlo.

2D4 Qarc/a $steban E6ernandoH T @ida de FlorencioSnchez23=?4, "ontevideo, #lfa, 3=>.

24%urnes E#ntonio 0.H TFlorencio Snchez.Los misteriosde su $ida, pasi(n ' muerte, "ontevideo, Qranada, >3>.

2L4www.logiama--ini.org.ar=3H.

Nicasio P88A SAN MA&HN

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Perera San Martín -- False Attributions to Florencio Sánchez

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