Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Primera persona del singular es el quinto conjunto de relatos de Murakami publicado en español, tras El elefante desaparece (1993), Después del terremoto (2000), Sauce ciego, mujer dormida (2005, aunque también incluye cuentos escritos décadas antes) y Hombres sin mujeres (2014). Con este reciente título tan del ámbito gramatical, el volumen incluye ocho cuentos que, sin abandonar las pautas familiares al autor, marcan un nuevo giro temático en su trayectoria cuentística.

A partir de la década del ochenta en Argentina, la lectura y los usos de las categorías y formulaciones de Gilles Deleuze comienzan a ser visibles en el panorama de la crítica literaria y aumentan en los años posteriores hasta nuestros días (Benyo et al. 15-8). Entre las firmas que realizaron una serie de operaciones críticas (Panesi 105) a partir de los conceptos y modos de leer del filósofo –Josefina Ludmer, Alberto Giordano, Daniel Link, Judith Podlubne, Sandra Contreras– se destaca el nombre de César Aira; la importancia de su lectura de Deleuze se encuentra tanto en la obra literaria como también en sus textos críticos. Dos intervenciones de este segundo conjunto serán el objeto de indagación en el presente texto: Copi, de 1995 y el ensayo “¿Quién es el más grande de los escritores argentinos?” de 1981. Luego de demostrar la importancia de Deleuze en la construcción de ciertas categorías clave en la poética de Aira, analizaremos dos operaciones que atañen a los usos de los conceptos del filósofo: la renovación teórica que Aira lleva a cabo enla lectura de la forma a través de Deleuze y la creación de una tradición de escritores menores de la literatura argentina.

This study analyses Marlene NourbeSe Philip’s poetic book Zong! (2008) by focusing on select “i-mages,” or poetic images as proposed by the poet, that “re/membering” the massacre occurred on board the slave ship called Zong in 1781 configure symbolic acts of poetic and restorative justice. These poetic images confront and metaphorically “exhume” the archive of the transatlantic slave trade and “exaqua” the memory of the Caribbean sea in order to poetically repair history in the Caribbean and contribute to free its future by inscribing in the transatlantic cultural and historic memory dimensions of the humanness that were and continue to be denied to the Afro-descendants in the Americas, and by creating ways to work through and heal the historic trauma caused by the genocide and dehumanization from emotional, psychic, and spiritual perspectives.

Libertad Demitrópulos, a writer from Jujuy of Greek origin, published in 1981 a unique historical novel under the title of Río de las congojas. Through an exhaustive review of the previous bibliography on the novel, this research approaches an analysis of the novel’s narrative structure, traversed by the voices of various narrators in their struggle to control historical memory, as well as other aspects related to the significance of cyclical temporality. Of all those voices that circulate through the text –analyzed from Walter Benjamin’s figure of narrator– Isabel Descalzo will be the one who interweaves, like a new Penelope, the voices of the other characters in a large collective shroud of the mythical foundation of Santa Fe –observed from Roland Barthes’s ideas about the linguistic significance of myths.

El año pasado, Jorge Consiglio –nacido en Buenos Aires, 1962; licenciado en Letras por la UBA; escritor de novelas, cuentos y poemas, distinguido con diferentes premios tanto en España como en Argentina– publicó su sexta novela, Sodio. Estructurada en capítulos cortos sin numerar y frases breves pero gravitantes que llegan a tocar notas profundas de la existencia, la novela comienza desde el momento que el lector observa la portada: un pez en el agua con un cigarrillo en la boca. Del orden de lo irracional o lo absurdo, simbolizado en la convivencia de elementos contrarios como el agua y el fuego, la primera propuesta del autor es, como el acaparador ojo de pez, observar; pero observar detenidamente, buscando algo sin saber qué ni cómo encontrarlo.

Considering anthologies as cultural artifacts, in this paper we focus on the case of Pasaje de ida, published by Alfaguara, to analyze the ways in which the anthology can be thought linked to the category of gatekeeper, as an editorial mediation that has the purpose of making Latin American authors visible. We reflect on what functions anthologies fulfill in the national and foreign literary fields and what relationships exist between the anthology and the position of the authors in the international field of translated Latin American literature. The text explores the hypothesis that anthologies fulfill a productive function in both systems: the national field and the international field. This anthology is a privileged prism to think about the category of gatekeeper, and the ways in which authors are inserted into the market for translated Latin American literature.

La novela terrígena (2011) by Chilean poet Mario Verdugo, depicts a trickster image of the province through a “maula framing”, which shows both the flaw and the potential of the static 2022representation of Chilean territory in Criollista literature. Through a novel that does not narrate, Verdugo’s conceptual poetry deploys an impersonal gaze that selects and combines symbolic and material remains of the countryside of the Maule area to construct a terrígena imaginary (Mariano Latorre) stripped of national symbols and deformed by referents of the sci-fi world and mass culture. This new way of imagining the province and in particular, the rural area becomes a performative exercise that reflects on the possibilities of literature to represent these territories against the identity discourses that have tended to overcode them, and in turn make visible the evident temporal and spatial dislocation produced by the capitalist machinery in its global process, in which the human figure is increasingly blurred as a point of reference.

This paper studies the artículos de costumbres of the Mexican illustrated magazines El Museo Mexicano (1843-1846), directed in its first period by Guillermo Prieto and Manuel Payno, and Revista Científica y Literaria (1845-1846), also edited by both. It analyzes the article titled “Cuadros de costumbres” by Prieto, which should be considered programmatic, and studies the articles as a part of a project to Mexicanize the country, to define and reform the new Mexican nation. It also focuses on the on the complex dynamics that it maintains with respect to foreign influence, especially French and Spanish. At the same time, it pays attention to the will of the publishers to build a nation that is geographically and socially inclusive.

The poetry of Hanni Ossott (1946-2002) is hardly known beyond Venezuelan frontiers, and so is any domestic or foreign research, almost non-existent, about her published works, an exception being El reino donde la noche se abre (1987). Such a scenario, unfortunately, continues to be so regarding her other works, especially the ones published thereafter. For this reason, this article will focus on one of her later poetry books, Casa de agua y de sombras (1992), since, as will be argued, it might be the most relevant one to understand the spatial-subjective processes that characterize the Ossottian oeuvre. Drawing upon Bachelard’s theories of space, this paper will attempt to explain how the poet goes from the versification of abstract and hostile space to the poetry of lived space, which will offer answers to her identity dilemma: we are nothing more than what we inhabit.

The article explores the social and professional trajectory of Peter Weidhaas, director of the Frankfurt Book Fair between 1975 and 2000. A typical exponent of the German ‘68 generation, in his formative years he began his career in the world of books and in a long globetrotting journey he made Latin America an affective and existential mediation. Under his direction, the Frankfurt Book Fair boosted multiple strategies of professionalisation, a dimension that still guarantees the global primacy of this event. But it also channelled bibliodiversity policies, such as the dynamics of the focal themes at the Fair and the participation in societies promoting Third World literatures. The genesis of these actions goes back to the 1976 fair that celebrated Latin American literature. As a front-line agent for the evolution of intermediation practices in the publishing world, Peter Weidhaas can be thought of as a gatekeeper of gatekeepers, who operated with singular effectiveness for the global dissemination of our continent’s culture. As we shall see, in this story, affections are the basis of an undisputed professionalism.