Listening to Severo Sarduy studies aurality in the works of Severo Sarduy (Camagüey, 1937-Paris, 1993). How invasive is the soundscape in Sarduy’s works? What echo chamber turns that soundscape into sonic imaginaries and how they “sound” in his texts, paintings, radio shows…? Since he insists on his cubanidad, how to reconcile it with the fact that the Cuban soundscape was left behind when the author was only twenty-two years old? Is aurality manifested equally in the different literary genres and discourses he cultivated? Each post corresponds to an iteration of the project, a way to answer these questions and share my thoughts with those colleagues who can help them grow.
“De mi vida, poco que decir, a no ser que vivo ya prácticamente rodeado de micrófonos por todas partes, como una isla sonora” (SS, carta a sus padres, 15 de abril de 1966)
