Latin American Literary Review最新文献

{"title":"Underwritten Voices: Resonant Spaces and Unsound Silences in Dani Zelko, Soraya Maicoño, and Daniela Catrileo","authors":"Jane Kassavin","doi":"10.26824/lalr.429","DOIUrl":"https://doi.org/10.26824/lalr.429","url":null,"abstract":"ABSTRACT: This article reflects on how twenty-first century Mapuche writers Daniela Catrileo and Soraya Maicoño upend notions of “silence” as corresponding to emptiness or absence through their experiments with poetic form. I begin by examining patterns and forms of silence and silencing in Mapuche poetry, mainly in dialogue with the poet Liliana Ancalao, as well as Mapudungun’s polyphonous conception of a “language” or “poetics” of the land that destabilizes colonial modes of listening, voicing, and sense-making. I then analyze the poetics of the line break, as well as the notion of poetic “white space,” as contesting narratives that attempt to silence and make invisible Mapuche communities through settler colonial frameworks. I finally evaluate the relationship between form, the caesura or the line break, and silencing or absence in two recent works: Pewma Ull: El sueño del sonido by Soraya Maicoño and Dani Zelko, and Río herido by Daniela Catrileo. Through a notion I term “underwriting,” I posit that these poets politicize form and blankness in order to not only make resonant Mapuche voices that have been previously construed as silent and absent by the settler state, but to propose alternative and active conceptualizations of “silence” as poetic modes of theorizing notions of mourning, restitution, and justice under settler colonialism.\u0000Keywords: Mapuche poetry, comparative Indigenous poetics, voice, silence, Daniela Catrileo, Soraya Maicoño, Dani Zelko\u0000 \u0000RESUMEN: Este artículo reflexiona sobre cómo las escritoras mapuches del siglo XXI Daniela Catrileo y Soraya Maicoño cuestionan la noción de “silencio” como sinónimo de vacío o ausencia a través de sus experimentos con la forma poética. En primer lugar, reviso patrones y formas de silencio y silenciamiento en la poesía mapuche, especialmente en diálogo con la poetisa Liliana Ancalao, así como la concepción polifónica del mapudungun de una “lengua” o “poética” de la tierra que desestabiliza los modos coloniales de escucha, voz y creación de sentido. A continuación, analizo la poética de la cesura y la noción de “espacio poético en blanco”, como narrativas contestatarias a procesos y sistemas coloniales que intentan silenciar e invisibilizar a las comunidades mapuches. Por último, evalúo la relación entre la forma, la cesura o el salto de línea y el silenciamiento o la ausencia en dos obras recientes: Pewma Ull: El sueño del sonido, de Soraya Maicoño y Dani Zelko, y Río herido, de Daniela Catrileo. A través de un concepto que llamo “sub-scripción” (underwriting), propongo que estos poetas politizan la forma y la opacidad no sólo para hacer que resuenen las voces mapuches que han sido previamente interpretadas como silenciosas y ausentes por el Estado colonizador, sino también para proponer conceptualizaciones alternativas y activas del “silencio” como modos poéticos de teorizar las nociones de duelo, restitución, y justicia bajo el colonialismo del asentamiento.\u0000Palabras clave: Poesía mapuche,","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140699601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El retorno del monstruo. Figuraciones de lo monstruoso en la literatura latinoamericana contemporánea. Por Adriana López-Labourdette. Buenos Aires: Ediciones Corregidor, 2023. 410 pages.","authors":"M. Crivelli","doi":"10.26824/lalr.414","DOIUrl":"https://doi.org/10.26824/lalr.414","url":null,"abstract":"In this review, I offer a critical summary of Adriana López-Labourdette's recent monograph El retorno del monstruo. Figuraciones de lo monstruoso en la literatura latinoamericana contemporánea. As emerges from a first reading of the title, the volume deals with the appearance of monstrous figurations in the recent Latin American literary field. In addition to illustrating the main aspects addressed in the book, this review aims to demonstrate the relevance of such a study in the field of monster studies, both in the Latin American field and in literature in general. In particular, in addition to offering a complex theoretical apparatus and an exhaustive survey of the literature related to the theme of the monster, the author also provides numerous new insights through which to read and interpret the monstrous figurations that haunt contemporary literature.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"59 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140700547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Mesh and the Abyss: Juan L. Ortiz’s Ecopoetics","authors":"Mac J. Wilson","doi":"10.26824/lalr.400","DOIUrl":"https://doi.org/10.26824/lalr.400","url":null,"abstract":"Abstract\u0000At some point early in his life, the Argentine poet, Juan L. Ortiz (1896-1978), chose staying to live in his native Entre Ríos province over moving to Buenos Aires, the cultural center of his country. Though he was encouraged by some friends of his to make the move so that his work would be disseminated and appreciated by sophisticated readers from the big city, the poet remained in the small town of Gualeguay and later moved to the provincial capital, Paraná. He highly valued his home landscapes, and his poetry reflects his relationship with the natural world. One Ortiz poem in particular, “Deja las letras…” from De las raíces y del Cielo (1958), refers to the proverbial rural/urban dualism in a way that upends the tendency to hierarchize the city over the country and the human over the nonhuman. This article analyzes “Deja las letras…” as an ecopoetic invitation to recognize the inherent interrelationships among humans and nonhumans. Part of this recognition requires a reconceptualization of “nature” as heterogenous and made up of nonlinear interconnections and the spaces in between, in a “mesh,” using environmental humanist Timothy Morton’s terminology. Recognizing and incorporating ourselves in this mesh, the poem suggests, can allow humans to keep our humanity while, at the same time, we learn empathy for nonhumans.\u0000 \u0000Keywords: Juan L. Ortiz, Ecopoetry, Argentine Poetry, Mesh of Interrelations, Ecopoiesis, City, Country\u0000 \u0000Resumen\u0000 \u0000En algún momento temprano de su vida, el poeta argentino Juan L. Ortiz (1896-1978) prefirió quedarse a vivir en su provincia natal de Entre Ríos en lugar de mudarse a Buenos Aires, el centro cultural de su país. Aunque algunos amigos lo quisieron convencer trasladarse para que su obra fuera difundida y apreciada por lectores sofisticados de la gran capital, el poeta permaneció en el pueblo entrerriano de Gualeguay y luego se mudó a la capital provincial, Paraná. Valoraba mucho los paisajes de su hogar natal y su obra poética refleja una importante relación con el mundo natural. Uno de sus poemas en particular, “Deja las letras…” de De las raíces y del Cielo (1958), se refiere al dualismo proverbial entre lo rural y lo urbano de una manera que trastoca la tendencia a jerarquizar la ciudad sobre el campo y lo humano sobre lo no humano. Este artículo analiza “Deja las letras…” como una invitación ecopoética a reconocer las interrelaciones inherentes entre humanos y no humanos. Parte de este reconocimiento equire una reconceptualización de la “naturaleza” como heterogénea y compuesta de interconexiones no lineales y espacios intermedios, en una “mesh” (“red”), usando la terminología del humanista ambiental Timothy Morton. Reconocernos e incorporarnos a esta red, como sugiere el poema, puede permitir a los humanos mantener nuestra humanidad y, al mismo tiempo, aprender a empatizar con los no humanos.\u0000 \u0000Palabras clave: Juan L. Ortiz, ecopoesía, poesía argentina, red de interrelaciones, ecopoiesis, ciudad, campo","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"52 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140699515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Un presente abierto las 24h. (Escrituras de este siglo desde Latinoamérica). Por Mónica Velásquez Guzmán. Bolivia: Mantis, 2023. 234 páginas","authors":"E. Jossa","doi":"10.26824/lalr.422","DOIUrl":"https://doi.org/10.26824/lalr.422","url":null,"abstract":"<jats:p>Reseña</jats:p>","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"28 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140702113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Holocaust Consciousness and Cold War Violence in Latin America. By Estelle Tarica. Albany: SUNY Press, 2022. 312 pages","authors":"Marilyn Miller","doi":"10.26824/lalr.454","DOIUrl":"https://doi.org/10.26824/lalr.454","url":null,"abstract":"Requested Review","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"267 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140704204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Mechanics of Uncertainty in Rodolfo Walsh’s Operación Masacre","authors":"Daniella Gitlin","doi":"10.26824/lalr.417","DOIUrl":"https://doi.org/10.26824/lalr.417","url":null,"abstract":"ABSTRACT: Critical treatments of Argentinian author Rodolfo Walsh’s watershed Operación Masacre (1957) often read the book as the explanatory force behind Walsh’s later commitments to the militant leftist Peronist Montoneros. In this article, I attempt to complicate such interpretations somewhat: first, by analyzing the nonpartisan and deliberative qualities of the text which eschew political pigeonholing, and second, by remembering Walsh’s shifting politics over the course of his life. Through close analysis of the text as well as later editions and paratexts, I show how Walsh’s performance of uncertainty and verification on the page paradoxically strengthen his call for remedial action and lends moral urgency to the work.\u0000RESUMEN: Los estudios críticos sobre Operación Masacre (1957), una obra fundamental del autor argentino Rodolfo Walsh, suelen encontrar en el libro la fuerza que explica los compromisos posteriores de Walsh con Montoneros, la militancia peronista de izquierda. En este artículo parto de esas interpretaciones e intento, en cierta medida, complejizarlas: en primer lugar, analizando las cualidades no partidistas y reflexivas del texto que eluden el encasillamiento político, y en segundo lugar, recordando los cambios políticos de Walsh a lo largo de su vida. A través de un análisis minucioso del texto, así como de ediciones posteriores y paratextos, muestro cómo la práctica que hace Walsh de la duda y la reflexión a través de la escritura fortalece, paradójicamente, el llamado a tomar medidas reparadoras y otorga urgencia moral a su obra.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"327 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140703714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Archivos vivientes: vistas, sonidos y cantos","authors":"Isabella Vergara C.","doi":"10.26824/lalr.434","DOIUrl":"https://doi.org/10.26824/lalr.434","url":null,"abstract":"Border Cantos, una colaboración entre el compositor experimental Guillermo Galindo y el fotógrafo Richard Misrach, profundiza en las narrativas multifacéticas de la migración a lo largo de la frontera entre EE. UU. y México. Las fotografías de Misrach capturan los paisajes y huellas de los cuerpos que cruzan la frontera y sus viajes difíciles. Complementando esto, Galindo transforma artefactos y desechos de la frontera en objetos sonoros, creando composiciones que hacen eco e reinterpretan las experiencias de los migrantes. Los cantos, ritmos y narrativas visuales de esta obra resuenan profundamente con las historias de quienes atraviesan la frontera en busca de seguridad, oportunidades o reconexión con sus seres queridos. En este artículo, mi análisis se centra en la compleja interacción entre sonido e imagen en Border Cantos, contextualizándolo dentro del amplio panorama de expresiones artísticas latinoamericanas. Destaco el papel del canto como una potente microepistemología, visualizándolo como un archivo vivo que captura y transmite narrativas alternativas. Inspirándome en la exploración de las dimensiones sonoras de Ana María Ochoa, las percepciones sobre la política de la voz de Brandon LaBelle y los pensamientos sobre la resonancia y la temporalidad de Lutz Koepnick, analizo el canto como un medio transformador, viéndolo no solo como repetición sino como un ritmo continuo y amplificado del aliento. Argumento que Border Cantos y su matizada representación del canto expanden nuestra comprensión de las historias de migración, nuestras nociones de expresión artística e imaginaciones archivísticas. \u0000 ","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140701069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Escritura documental, zozobra e intersubjetividades en Había mucha neblina o humo o no sé qué, de Cristina Rivera Garza.","authors":"Luis Miguel Estrada Orozco","doi":"10.26824/lalr.413","DOIUrl":"https://doi.org/10.26824/lalr.413","url":null,"abstract":"ABSTRACT: En Había mucha neblina o humo o no sé qué, Cristina Rivera Garza sigue al escritor Juan Rulfo en trabajos vinculados a la producción de la modernidad mexicana: la llantera Euzkadi y la Comisión del Papaloapan. Para Rivera, el Rulfo que escribe sobre mundos a los que su actividad laboral erosiona encarna la tensión entre la literatura y los discursos de construcción de nación del siglo XX. En este trabajo, propongo una lectura desde las ideas del filósofo mexicano Emilio Uranga. Algunas de las contradicciones que Rivera aborda en su visión de Rulfo encuentran una lectura novedosa en la zozobra del ser-para-el-accidente del mexicano de Uranga. Esta perspectiva también ayuda a comprender las relaciones intersubjetivas, fallidas en el mundo rulfiano, que el libro de Rivera vuelve productivas.\u0000RESUMEN: In Había mucha neblina o humo o no sé qué, Cristina Rivera Garza follows Juan Rulfo working jobs related to the production of Mexican modernity: the tires company Euzkadi and the Papaloapan River Commission. According to Rivera Garza, Rulfo, as someone who writes about worlds eroded by his very jobs, embodies the tension between literature and the discourses of construction of the nation during the 20th century. In this article, I revise the book under three key concepts by Rivera Garza herself: de-appropriation, documentary writing and geological writing. Also, I propose a reading of Había mucha neblina… using the ideas of Mexican philosopher Emilio Uranga. Some contradictions Rivera sees in her Rulfo find a new reading through the “Zozobra” of the being-for-the-accident in Uranga’s view of Mexicanity. This view also helps understanding the intersubjective relationships, failed in Rulfo’s world, that Rivera’s book turns into productive ones.\u0000KEYWORDS: Mexican literature; national identities; Hiperión group; Juan Rulfo; philosophy of Lo Mexicano.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"61 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140700188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Words and Rhythm, Sound and Text","authors":"Charlie D. Hankin","doi":"10.26824/lalr.453","DOIUrl":"https://doi.org/10.26824/lalr.453","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"52 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140702523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ficciones fónicas. Insistencias en la materia de la voz","authors":"Gabriela Milone","doi":"10.26824/lalr.423","DOIUrl":"https://doi.org/10.26824/lalr.423","url":null,"abstract":"Quizás uno de los enigmas que guarda la voz es su materialidad. Una pregunta enlaza otras: de qué tipo es su materia, a qué esfera pertenece, dónde tiene lugar, cómo se produce su articulación, en qué sentido se puede hablar de la singularidad o de la pluralidad de la voz. Este trabajo propone revisar estas preguntas y sus insistencias en autoras y autores (Giorgio Agamben, Roland Barthes, André Le Breton, Adriana Cavarero, Michel de Certeau, Laura Odello y Peter Szendy, entre otros). Desde la pregunta por la singularidad y la articulación  de la voz nuestro trabajo asume su estar-situado en América Latina (Édouard Glissand, Davi Kopenawa, Yánaya Aguilar Gil) y desde allí aporta una categoría propia: la ficción fónica,  un modo singular de indagación. sobre la inestabilidad o suspensión de la lengua en su umbral significativo.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":"58 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140701421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}