The Ten – from the marginality of a peripheral country – stretched the definition of the 20th and became one of its semiological facts.
Diego Armando Maradona stretched the definition of the 20th century.
At this point we know that the centuries are not chronological or lengthy in their decades, but are the result of gravitational events that challenge and they put diagonals on all sides of society.
Maradona –from marginality in a peripheral country– became one of the semiological facts of the 20th century.
Roland Barthes -French player, another 10 from the whole court- scored a 6-page goal in 1968 when he spoke the death of the author for the birth of the reader. The reader – theorized – is that someone who keeps all the traces that constitute what is written together in the same field.
What does it matter if Maradona read Barthes or not. What matters is that Maradona no longer fulfills the role of author. His work is the fabric of multiple quotes, writings, dialogues, coffee debates, their heroism and their infamies, hugs, crowds, whores, anger, kicks, rhinoscopies, kisses, kid dreams and even this pretentious text. The reader – your reader – has no biography. Create your own literature.
Even more: when Edgar Allan Poe -I imagine Poe playing left-back- invents the police genre with his detective C. Auguste Dupin in 1841 also invents the type of police reader. Maradona, in his own way, with his football, did the same: invented the type of reader Maradonian that allowed to read football in another way. In other words, you can’t watch football today without thinking about Maradona. To say of Borges: Maradona and his precursors.
It moves me that his death moves so much. That it has given joy in a world turned into a ball. Its popular dimension floats in the silent streets of this Wednesday, September 25, 2020. And silence is the most deafening noise. Maradona makes noise in his death. And how. Somewhere in the world a ball spins, material from the underworld, to start reading Maradona.