La muerte definitiva del escritor que se había visto morir a sí mismo. El concepto de extinción y

Abstract

Se hace un recorrido por la trayectoria del novelista argelino Mirzaq Bektash (1945-2021), uno de los grandes desconocidos de la literatura argelina contemporánea en el mundo árabe y Europa. Su aportación a la novela árabe moderna debe ser puesta de relieve, así como su enfoque vanguardista sobre la intersección entre arte y política en sus obras, en especial a través de su novela Dam al-gazal (“La sangre de la gacela”) donde describe su propia muerte a consecuencia de un atentado sufrido en 1993, hecho este último real, y, de paso, realiza una serie de consideraciones sobre la perdurabilidad y lo extinguible. El asesinato aquí del escritor constituye una parábola del “patricidio” de Argelia, a partir de un sutil juego de paradojas y pasajes oníricos donde se realiza un ejercicio literario que representa el sumum narrativo de nuestro autor. Ironía, simbolismo y un renovado sentido del compromiso ideológico se conjugan, junto con la ficción literaria y la deconstrucción de las estructuras narrativas tradicionales, con un entorno social, histórico y político sumido en la violencia propia de la llamada “década negra” ( (العشرية السوداء en los noventa del siglo pasado.

The focus is placed on the figure of the Algerian writer Mirzaq Beqtash (1945-2021) and his narrative production which has not received the attention and praise that it deserves in its Arabic context. We try to demostrate how its production is one of the most creative in the scope of modern Algerian and Arabic novel, as it is deeply characterized by his cultural and social foundations which we can appreciate, specifically, in his short novel Dam al ghazal (“The gazelle ́s blood”). In this particular “autobiography”, he depicts the story of the assessination attempt he suffered in 1993, and, at the same time, invests this dramatic affair to build up an own dissertation about the environment of violence that his country was suffering at that time. As we try to contend, the story of his own death is the telling of the current problematic living of his own country, as he develops a unique expressive and discursive style made up by irony, simbolism and a particular mode of engagement with his social and political environment, as his country was being shocked by an unprecedented violence wave during the so called “black decade” of the nineties (العشرية السوداء )