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“Simbiosis”, aparecido originalmente en 1956, constituye la instancia inicial de la serie de cuentos policiales de Rodolfo Walsh que, extendida hasta 1962, protagonizan Daniel Hernández y el comisario Laurenzi. Pero “Simbiosis” representa, además, un momento de rupturas en la trayectoria de Walsh, rupturas observables a la luz de su obra previa, y que contribuyen a definir la singular posición que el escritor procura adoptar en el campo literario de la época. En la nacionalización del género policial que propone, el cuento a la vez recupera y cuestiona el canon clásico del género, al adoptar motivos de la literatura fantástica cuya operatividad como explicaciones de un delito se asocia a su origen en el saber popular, saber al cual Laurenzi accede como comisario de pueblo. Correlativamente, la equívoca resolución del crimen, debatida entre dos matrices de género, una racional y otra sobrenatural, así como el interrogante sobre la culpabilidad que deja abierto el relato, son resonancias significativas de su contexto histórico, desatendidas aún por la crítica: se trata, en particular, de los debates sobre culpables e inocentes políticos que inició en 1955 el derrocamiento militar del gobierno peronista.“Symbiosis”, originally apperared in 1956, is the initial step of the Rodolfo Walsh’s detective stories series which, extended until 1962, shows Daniel Hernández and police inspector Laurenzi as its main characters. But “Symbiosis” also represents a moment of ruptures in Walsh’s career, ruptures which can be observed if his previous work is considered, and contribute to define the singular position the writer seeks to adopt in his contemporary literary field. The story constitutes a particular attempt of nationalized detective short fiction, which simultaneously assumes and questions the classic canon of the genre, as the adoption of fantastic literature features allows explanations of the crime linked to popular knowledge, discovered by Laurenzi as a small village police inspector. Correlatively, the equivocal resolution of the case, debated between two generic parameters, one rational, the other supernatural, as well as the question on culpability that the story leaves open, make meaningful resonances of te text’s historical context, still disregarded by the critics, and particularly referred to the debates on political guilts and innocences which, since 1955, caused the militar overthrow of the peronist government

Vuelta a lo que resultó un comienzo: de géneros literarios y política en “Simbiosis”, de Rodolfo Walsh