El controvertido imaginario urbano de la poética de Hilda Mundy.: Sorpresa, nostalgia, tedio y objetos citadinos en "Pirotecnia"

Abstract

Este ensayo² recoge la poética que Hilda Mundy (1912-1982) construye en Pirotecnia (1936) sobre la compleja modernidad que surge en Oruro, su tierra natal, a principios del siglo XX, en la época de la guerra del Chaco (1932-1935) en Bolivia. Se acerca a la novedosa propuesta anarquista de vanguardia con la que con humor, ironía y sarcasmo mira la ciudad. Resalta la resignificación de los objetos que elige para representar su desencanto temprano ante el fenómeno que emerge. Destaca la valoración lúcida de un mundo que considera inviable y reconoce la crisis que siente frente a la estética citadina que se superpone al paisaje rural, cuyas profundas huellas guardan su memoria.This essay recovers the poetics that Hilda Mundy (1936) builds in "Pirotecnia" addressing the complex modernity that arises in Oruro, her native land, at the beginning of the twentieth century, time of the war of the Chaco (1932-1935) in Bolivia. She approaches the novel avant-garde anarchist proposal with which she looks at the city with humor, irony and sarcasm. She emphasizes the resignification of the objects that she chooses to represent her early disenchantment with the phenomenon that emerges. She emphasizes the lucid assessment of a world that she considers unfeasible and recognizes the crisis that she feels in front of the urban aesthetics that overlaps the rural landscape, whose deep traces she keeps in her memory.