Resumen de Gazing Backwards in Fernando Vallejo
This chapter examines the Generation of '72's take on global cultural and political projects by way of the group’s enfant terrible, Fernando Vallejo. Focusing on the contrast Vallejo strikes between his dandy narrator and the actually lived cityscapes of Medellin, Aristizábal shows how the painter of modern life in Colombia would come to view the modernist destruction with which he is readily associated as quaint. Covering Vallejo's life works, Aristizábal furthers this critical take on universal modernisms in highlighting the plurality of popular voices that Vallejo captures. As the vox populi upends the Colombian lettered city, for Aristizábal, we witness a simultaneous trivializing of global cultural standards and a subtly idealist chronicling of life in post-Violencia Colombia.
