Twenty years and 100 words in the intimate memory of Santiago

“My cousin Juan told me that Santiago is so big that people don’t greet each other because they will never see each other again”.

Francisco Oyarce, 23 years old, Santiago. Honorable Mention X Version.

Anthology book “Santiago in 100 words. 20 years” (Plagiarism Foundation)

By Marcel Socías Montofré

Of those surroundings and corners of Santiago de Chile that are always a pleasure to read. For brief. Where the point followed is what is suggested.

As Horacio Quiroga would say: “it tells as if the story had no interest except for the small environment of your characters, of which you could have been one. There is no other way to obtain life in the story.

Like a hundred and thousands of people -transversally generational- have told and recounted their vision of Santiago de Chile in 100 words -sometimes more, sometimes less-, but always contributed literary perceptions of a city that is built in the personal record, for written and narrative of its inhabitants.

Deep emotional and brief.

As it was from the beginning the initiative of Plagiarism Foundation. The short story. The infallible machine of the precise story. The chronicle and scarce time. For the French it is nouvelle and for the Anglo-Saxons it is long short story.

For the records of literature in Chile, they are stories of a common feature, inhabiting Santiago in writing, where the fantastic and the close are juxtaposed from the personal to the symbolic universe of the collective:

“I participated because I thought I had something to say, something to contribute to the debate or to literature.”
Marcelo Rafael Ortiz, 22 years old, Quilicura, Barrio Talent Award XVI Version.

That constant purpose of the short story and its surroundings in Santiago de Chile and for the Plagio Foundation that “throughout these twenty years we have received close to a million stories. In all this time, new generations have been born, new inhabitants have arrived, the city has been transformed and the stories have been recording these changes”.

Plagiarism Foundation

But it does not change that narrative drive of the participants:

“Don’t ask questions. Don’t imagine answers. That no one tells details of his life: that hooks ”. Just the story of a few hours. Do not lengthen them, neither inside nor outside the head. Turn off background music. Do not color the moment. Don’t force outcomes. Get in and out of each other, no problem. Use protection and that everything shared can go away with a long and slow shower. Then do not call or send messages. A single encounter. No repeat. Delete the contact. Forget his name.”
Maritza Ramírez, 54 years old, Santiago, Honorable Mention XVIII Version.

“Through these stories we can see the profound changes that the city and its inhabitants have experienced since the beginning of the century. Together, they make up an immense collective story where the most diverse experiences and perspectives have a voice”, in the perspective of the prologue and support of Escondida/BHP.

Or as Adolfo Bioy Casares would say: “Eternity is one of the rare virtues of literature.”
And so, “in the twenty versions of Santiago in 100 words, more than 55 million words have been written, which would be enough to write Don Quixote de la Mancha 146 times (…), those words would be enough to go from the Earth to the Moon more than once”.

Or enjoy a good journey of twenty years in writing, like this worthy and free edition, perfectly city and road in the chapters of “Day to Day”, “In transit”, “Collective Memory” and “Fantastic Figures”. Also “From outside”, with “The silent city” and “The city and its inhabitants”, in addition to the art of design and its illustrators, a spherical by round graphic composition in the color integration of the story.

A kind of manual for the perfect storyteller. “The symphony stirs in the depth”, in the words of Rimbaud. A Santiago de Chile that could even be celebrated with the story “Fedor Dostoevsky”:

“I would have carefully observed people coming out of the mouth of the Metro smoking. He would have crossed La Moneda stunned in the rain. Thoughtfully, he would have bought a sopaipilla for the hungry dog ​​near the Santa Lucía. He would have happily crossed flooded streets with children running beside him. He would have raised his fist to the aggressive and encroaching cars. He would have tried the best sailing in La Piojera with some friends. He would have cried and laughed, sitting on a bench, looking at the people, waiting for the bus, numb. And he would have waited for the snow, in vain. Fedor Dostoevsky would have liked Santiago in winter”.
Ernest Guzman. 29 years old, Florida. First place VI Version.

“Santiago in 100 words. 20 years” and two decades of a city that has changed –there are short stories per register-, mutating sometimes due to time and other times due to narrative technique. Although it is not precisely the technique. Rather it is the verbal line of a Santiago that moves.

As in the movie “Stories that are not stories” (Adam Shankman, 2008, comedy genre, romantic, for everyone and in writing), as if assuming that daily it is written by book, story or script that Santiago in 100 words always has something from Chile, that brief and personal story with the city:

“- What a crap story!
– That can’t be the end!
– Why not?
– Because in stories there is always a happy ending!
– In real life there are no happy endings.

PS By the way, there are two thousand copies that have been distributed free of charge in public and school libraries. Because those purposes and endings are indeed happy.

Illustration of the Anthology Santiago in 100 words.  20 years.
Plagiarism Foundation

Anthology Santiago in 100 words. 20 years.

Plagiarism Foundation

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