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

In this essay I study marginal childhoods from an intersectional lens that combines categories of gender, race and class in nineteenth-century Latin America. In particular, I focus on “cholitos,” indigenous children who were abducted, trafficked, and offered as gifts by white Peruvian elites, and subsequently used as slaves. Stemming from close reading of texts by Abelardo Gamarra, Lastenia Larriva de Llona and Juana Manuela Gorriti, among others, I trace the racialization of affect associated with sentimental hegemonic childhood while also analyzing the interracial affective bonds between indian and white children in the perverse intimacy of the upper-class home.

In this article, I analize three themes in four Argentine crime short stories with whorehouses: the place of women in crime and detective short stories; their movements throughout social spaces; and the characterization and narrative function of the two end points of those journeys: the home and the whorehouse. In these genres, the creation of the whorehouse as place of (re)confinement and as the birth of vengeance, contests the female characters’ increasing occupation of public space.

In this article, I address a reading of this known polemic between Moro and Huidobro (1935-1936) and the impact it has had in Chilean literary history and criticism. Taking as a point of departure the absence of some archives to perform this research of the conflictive correspondence between poets César Moro (Perú1893-1948) and Vicente Huidobro (Chile1903-1956). Therefore, reading this polemic will show how affect makes possible other possible readings of post Avant Garde from this episode between two Latin American poets linked to French Surrealism. These affects produce not only a materiality but also a way of reading this distinct production in the context of Chilean and Peruvian post Avant Garde poetry. It deals with the ways in which some poets’ alliances work not only from friendship and intellectual associations but also from envy and conflict, known as negative affects or “ugly feelings” (Sianne Ngai). Therefore, I propose to read an emotion’s archive, as an analytic category and as a way of knowledge (Sarah Ahmed).

In response to the crisis suffered by literary criticism in the nineteen seventies and that has extended with even greater force today, it seems useful to return to the approach Borges developed in a paper that was first published in 1953 with the title “El escritor argentino y la tradición” which was later included in the reedition of Discusión in 1957. Here the author analyzes a recurring theme in Hispanoamerican literary studies, the tradition of “South American” belle-lettres, especially Argentinean: “I think our tradition is that of all Western culture and I also think we have a right to this tradition which is greater than that of inhabitants of any other Western nation”. The replies were not long in coming. I dare suggest they were a glimpse of the perplexity of today’s reader, who is familiar with other answers, in particular, those of sociology or related fields, such as cultural anthropology, that have proposed that the way to reach the originality and autonomy of Hispanoacamerican literature resides in highlighting the differences that separate us from the Western Cannon. To examine and argue in favor of Borges´ thesis in the framework of the current situation of literary criticism, slowly but seemingly inexorably displaced by cultural studies, especially in university literature departments, is the pretensión of this work, which I hope is free of prejudice although I recognize that they never cease to be present in an undertaking of this type.

Juan Carlos Abril es profesor e investigador de literatura hispánica en la Universidad de Granada y poeta, y tanto en una como en otra faceta presenta novedades. Como profesor e investigador, ha sacado a la luz dos publicaciones importantes sobre el panorama de la poesía española contemporánea: El habitante de su palabra. La poesía de José Manuel Caballero Bonald (Visor, 2018) y La hora de escribir. Perspectivas sobre Luis García Montero (Visor, 2018), esta segunda en coedición con Juan Carlos Fernández Serrato. Y como poeta ha roto el silencio que ha mantenido durante once años en lo que a la aparición de un libro se refiere, desde la publicación de Crisis (Pre-Textos, 2007). Ha sido con En busca de una pausa (Pre-Textos, 2018). Constituyen las muestras más recientes de una prolongada trayectoria.

“Mata-Hari 55”, relato del escritor argentino Ricardo Piglia (La invasión), permite poner a prueba las consideraciones teóricas que el autor elabora, desde el ensayo crítico, sobre el cuento y la nouvelle. Por tal razón, es posible indicar, teniendo como punto de partida el ensayo “Tesis sobre el cuento”, que “Mata-Hari 55” contiene dos historias. Se propone entonces identificar las características del cuento, y, así, tener un punto de partida para comprender su historia secreta. La historia visible cuenta la relación de Laura o Julia (de ahora en adelante Mata-Hari) en julio o agosto de 1955 con la resistencia antiperonista, para seducir a un hombre en aras de la revolución, proponiendo, además, una visión histórica y crítica de la revolución argentina del 55, por medio de alusiones claras a los actores involucrados, mientras el relato está mediado por una figura femenina: Mata-Hari.

The aim of this paper is to make a critical analysis of the novel El olvido que seremos by Héctor Abad Faciolince. After its publication in 2006, this novel quickly became a bestseller of memory in Colombia for the testimonial value of the narration and for the editorial platform that supported it. However, a critical approximation shows that this novel is articulated like a classist, heteropatriarchal, and hegemonic representation of memory. In this sense, the purpose of this work is to analyze the textual and intertextual mechanisms that configure this memory modulation in order to open a discussion that allows not only to make visible more inclusive memories but also to avoid the institutionalization of some memories and the consequent invisibilization of diverse subjectivities and violence.

In this article we present the result of the work of sorting the correspondence between Roberto Bolaño and Carlos Edmundo de Ory that is kept in the Archive of the Carlos Edmundo de Ory Foundation (Cádiz, Spain). We offer a description of it and a general idea of its content, and then focus on the traces contained in these letters of the Bolaño writer in his relationship with Ory, the traces of that “frantic typing” that led him to become the recognized author he would become.

Posiblemente, Daniel Veronese habría firmado esta cita del escritor gallego Juan Tallón. Porque el creador argentino que ocupará las siguientes páginas configura su identidad a través de su negación o, al menos, a través de las grietas que el muro de la personalidad deja abiertas. Veronese no necesita seguir un camino seguro, asfaltado, previsible, unívoco: prefiere transitar carreteras secundarias, sendas sin pavimentar, sin señalar. Este creador no se une a una corriente estética determinada, no firma sus obras con una rúbrica preestablecida, no pretende adquirir un sello reconocible. Tampoco genera un nuevo paradigma del cual no pueda desprenderse. No se trata de aferrarse a una idea, a una concepción teatral. Su recorrido es equívoco, variante, múltiple. Y finito.

The present paper has as starting point the reflection about the poetological and aesthetic function of pain in Charles Baudelaire’s literary work. After that, we address the relationship that can be established between this writing of pain and the “trembling” that the modern aesthetic discourse has associated with the experience of the sublime. The principle of the 2022“alchemy of pain” that is at the base of The Flowers of Evil allows us to think about how this affect gives an unusual vigor to the perceptual and affective dimension of the aesthetic experience. The pain, far from presenting in Baudelaire the confirmation that the circle of the spleen closes the world, breaks out as a vector of intensification of the affective experience of art that allows the imagination to be emancipated from the weight of the images that disturb it.