Sarlo or Culture’s Shorthand

Abstract

The various expertises that support Sarlo’s critical practice are not necessarily previous to her writing; on the contrary, they are usually the inevitable outcome defined by her critical objects. This article analyzes some of the aspects of Sarlo’s writing: her capacity for conceptual synthesis, her aphoristic impulse, the adjustment of textual economy in accordance to the different media and the tachygraphic mode of her critical imagination. Just as she learned to read with Barthes or  Benjamin, and just as she learned to get in and to get out of literature unprejudicedly with Schorske or Berman, with (and in) her own book La máquina cultural Sarlo learned to write. My purpose is to study the operational plan of her essayist work and the original inflection she develops in order to incorporate the critical gestures that fascinates her in the authors she reads.