Latin American literary review最新文献

{"title":"La cara oculta de las masculinidades nuevas en el cine mexicano comercial","authors":"Samanta Ordóñez Robles","doi":"10.26824/lalr.370","DOIUrl":"https://doi.org/10.26824/lalr.370","url":null,"abstract":"En este artículo analizo películas comerciales producidas durante las últimas dos décadas del siglo XX y las primeras del XXI que proyectan imágenes paradigmáticas de las nuevas tendencias de las masculinidades mexicanas. Los largometrajes construyen a las masculinidades como nuevas a través de narrativas que siguen una trayectoria socialmente progresista trazada por la trascendencia de las normas machistas, homofóbicas y misóginas establecidas dentro del imaginario nacionalista. Utilizo una metodología relacional: examino las intersecciones entre los violentos efectos del capitalismo neoliberal en el cine y los procesos de clasificación de las categorías entrelazadas del género, la raza y la clase social. Arguyo que las políticas progresistas basadas en las narrativas masculinas de desarrollo individual que se forman a través de la trascendencia del orden heteropatriarcal mexicano y que estructuran las plantillas narrativas y de representación simbólica social de muchos largometrajes, si bien contribuyen a la diversificación de género y sexualidad en las pantallas, también reorganizan las fronteras de clasificación racial y de clase en función de la lógica capitalista opresiva. Dicha lógica cultural se construye a través de la formación de las masculinidades nuevas y cosmopolitas a la par con un rostro oculto, la edificación esencializada de cuerpos racializados, pobres y generizados como machos retrógrados, misóginos, violentos y salvajes. La dualidad jerárquica entre las masculinidades progresistas y las retrogradas refuerza el orden discursivo y simbólico neoliberal que justifica y oculta formas violentas y coercitivas de control social y subyugación llevadas a cabo sobre cuerpos racializados como no-blancos y sin recursos económicos. Palabras clave: Cine mexicano comercial, masculinidades nuevas, raza, género, neoliberalismo Abstract: In this article I analyze a selection of commercial films produced in Mexico since 1991 that project paradigmatic images of formations of new Mexican masculinities. Feature films construct masculinities as “new” through narratives that follow a socially progressive trajectory toward the transcendence of macho, homophobic, and misogynist norms established within the nationalist imaginary. I use an intersectional methodology that examines cinematic representations in terms of the relations they reveal between neoliberal capitalism and the classificatory processes of intertwined categories of gender, race and social class. I argue that, although the narrative templates structured in progressive politics based on male self-reformation and triumph over the Mexican heteropatriarchal system may contribute to the diversification of gender and sexuality on screens, they also facilitate rearrangements of the lines of social classification as required by the operative logic of neoliberal racial capitalism. This cultural logic promotes the formation of new, cosmopolitan masculinities at the same time as it reinforces the e","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":" 390","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135186890","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 desierto y los espectros del Antropoceno en <em>Blanco Nocturno</em> de Ricardo Piglia","authors":"Rafael Andúgar","doi":"10.26824/lalr.340","DOIUrl":"https://doi.org/10.26824/lalr.340","url":null,"abstract":"Resumen:En la novela Blanco nocturno de Ricardo Piglia, el detective Croce intenta resolver un asesinato que plantea cuestiones sobre motivos raciales y económicos, simbolizando la alineación de los agentes económicos extractivos arraigados en el colonialismo. El paisaje de la pampa argentina se convierte en un lugar donde se cruzan el genocidio de las poblaciones indígenas y el desastre climático. A través del estudio de la connotación nostálgica del uso del desierto como paisaje, la novela conecta la perspectiva histórica de las narraciones del siglo XIX sobre la “Conquista del desierto”, donde los escritores retrataban los paisajes argentinos como un “desierto” vacío con el objetivo de colonizar la tierra y repoblarla, con las preocupaciones actuales sobre la desertificación. Este artículo examina una serie de imágenes metafóricas, denominadas “espectros del Antropoceno”, que incluyen una fábrica abandonada en medio del “desierto”, la construcción de un centro comercial o la yuxtaposición de una amplia variedad del espectro electromagnético, como la luz eléctrica, para resaltar las ansiedades en torno al progreso tecnológico y la destrucción ambiental. Palabras clave: Ecocrítica, Desertificación, Paisaje, Ecología, Ricardo Piglia, Espectros Abstract: In Ricardo Piglia’s novel Blanco nocturno, Detective Croce tries to solve a murder that raises questions of racial and economic motives, symbolizing the alignment of the extractive economic agents rooted in colonialism. The landscape of the Argentinean pampas embodies the intersection of indigenous genocide and climate disaster. Through the study of the nostalgic connotation of the use of the desert as a landscape, the novel connects the historical perspective of the XIX century narrations of the “Conquista del desierto”—, as writers depicted Argentinian landscapes as an empty “desert” with the objective of colonizing the land and repopulating it, with present-day concerns of desertification. This article will examine a series of metaphorical images, referred to as the “specters of the Anthropocene,” which include an abandoned factory in the middle of the “desert,” the construction of a mall, and a juxtaposition of a diverse array of the electromagnetic spectrum such as electric light, to highlight anxieties surrounding technological progress and environmental destruction. Keywords: Ecocriticism, Desertification, Landscape, Ecology, Ricardo Piglia, Specters","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723573","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":"Of Cattle and Men: Interspecies Encounters in Ana Paula Maia’s De Gados e Homens","authors":"Santiago Eslava-Bejarano","doi":"10.26824/lalr.375","DOIUrl":"https://doi.org/10.26824/lalr.375","url":null,"abstract":"The novel De Gados e Homens (2013) takes place in a provincial slaughterhouse situated on a polluted valley. Its author, Ana Paula Maia, depicts the interspecies encounters that take place in this context and suggests possible, albeit troubling, means of acknowledging nonhuman agency. This article examines how Maia’s novel De Gados e Homens (2014) develops a zoopoetics of the slaughterhouse through the eyes of Edgar Wilson, the slaughterer protagonist. The first section analyzes the polluted valley and the slaughterhouse, which jointly serve as the novel’s setting and offer the conditions of possibility for the interspecies encounter. The second section studies how, in that marginal and isolated environment, the slaughterhouse worker’s ethical encounter with the cow’s face renders him response-able. Through the lenses of Levinas’ ethics and the Derridian critique of his anthropocentric limitations, it will be possible to address the ethical complexity of the relationship between the slaughterer and his cows. Finally, the third section examines how Maia’s novel suggests bovine agency and communication and explains why the slaughterer is the only character psychologically open to this possibility. This reading of the novel aims to elucidate the relationship between environmental degradation, Edgar’s distinctive perspective, and the portrayal and behavior of cows within the narrative. KEYWORDS: animals, cows, zoopoetics, Ana Paula Maia, De gados e homens, Brazil Resumen: La novela De ganados y hombres (2013) transcurre en un matadero de provincias situado en un valle contaminado. Su autora, Ana Paula Maria, retrata los encuentros interespecie que tienen lugar en este contexto y sugiere posibles, aunque inquietantes, formas de reconocer la agencia no humana. Este artículo examina cómo la novela De Gados e Homens (2014) de Maia desarrolla una zoopoética del matadero a través de los ojos de Edgar Wilson, el matarife protagonista. La primera sección analiza el valle contaminado y el matadero que sirven como escenario de la novela y ofrecen las condiciones de posibilidad para el encuentro entre especies. La segunda sección estudia cómo, en ese entorno marginal y aislado, el encuentro ético del trabajador del matadero con el rostro de las vacas lo vuelve capaz de dar respuesta (response-able). A través de los lentes de la ética de Levinas y la crítica derridiana de sus limitaciones antropocéntricos, será posible abordar la complejidad ética de la relación entre el matarife y sus vacas. Finalmente, la tercera sección examina cómo la novela de Maia sugiere una agencia y comunicación bovinas y explica por qué el matarife es el único personaje psicológicamente abierto a ellas. Esta lectura de la novela tiene como objetivo elucidar la relación entre la degradación ambiental, la perspectiva única de Edgar y la representación y comportamiento de las vacas dentro de la narrativa. Palabras clave: animales, vacas, zoopoética, Ana Paula Maia, De gados e homens, Bras","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723681","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":"La vida es pornografía igualitaria. <em>Inmaculada o los placeres de la inocencia</em> de Juan García Ponce","authors":"Eric Miguel Avila Ponce de León","doi":"10.26824/lalr.387","DOIUrl":"https://doi.org/10.26824/lalr.387","url":null,"abstract":"Resumen La obra del escritor mexicano Juan García Ponce es considerada uno de los ejemplos más importantes de literatura erótica en lengua española. Sin embargo, ninguna causó tanta polémica como su novela de 1989 debido a su su carácter fehacientemente pornográfico. Existen críticos que defienden Inmaculada argumentando que en realidad no es pornográfica, sino intensamente erótica, y por tanto, se trata de una obra más de gran calidad artística del autor yucateco. Sin embargo, en este artículo, hago uso de algunas ideas de teoría feminista para cuestionar la validez crítica de lo “erótico”, como medida para determinar lo artístico. Esto con el fin de traer a colación lo que algunos investigadores han determinado como la tradición histórica de la pornografía literaria, la cual introduzco como la nueva medida crítica, y filológica, para estudiar Inmaculada o los placeres de la inocencia. Dado que las novelas Justine y Juliette del Marqués de Sade son los modelos de pornografía literaria que García Ponce siguió para la escritura de Inmaculada, en este artículo realizo un análisis comparativo entre las tres obras para establecer las diferencias claves entre ambas, y las contribuciones del escritor yucateco a la tradición histórica de la pornografía literaria. Finalmente, debido al hecho de que la protagonista de Inmaculada es mujer, cotejo sus experiencias en la novela con teoría feminista sobre la sexualidad femenina, así como con ideas generales de teóricas y pornógrafas feministas que buscan modelos “igualitarios” de producción sexual. PALABRAS CLAVE: Juan García Ponce; Sade; literatura mexicana; pornografía; feminismo. Abstract The work of the Mexican writer Juan García Ponce is considered one of the most important examples of erotic literature in the Spanish language. However, none caused as much controversy as his 1989 novel, Inmaculada o los placeres de la inocencia, due to its patent pornographic nature. There are critics who defend Inmaculada, arguing that it is not really pornographic, but rather intensely erotic, and therefore, it is another work of great artistic quality by the Yucatecan author. However, in this article, I use of some ideas from feminist theory to question the critical validity of the “erotic” as a measure to determine the artistic. This in order to bring up what some researchers have determined as the historical tradition of literary pornography, which I introduce as the new critical and philological measure to study Inmaculada o los placeres de la inocencia. Given that the novels Justine and Juliette by the Marquis de Sade are the models of literary pornography that García Ponce followed for the writing of Inmaculada, in this article I carry out a comparative analysis between the three works to establish the key differences between them, and the contributions of the Yucatecan writer to the historical tradition of literary pornography. Keywords: Juan García Ponce; Sade; Mexican literature; pornography; feminism.","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723682","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":"On the Other Shore: Water in Latine Illness Narratives","authors":"Elyse Veloria","doi":"10.26824/lalr.371","DOIUrl":"https://doi.org/10.26824/lalr.371","url":null,"abstract":"Abstract Drawing on Afro-Caribbean and Black theories, this paper analyzes water as metaphor in Isabel Allende’s “Paula” and Gabriel García Márquez’s Love in the Time of Cholera. I read these texts as illness narratives to conceptualize water as a generative space where the authors negotiate death, grief, and loss. Although these texts are written by established, canonical Latin American writers, this paper attends to the overlapping iterations of water as currents, clouds, and rivers throughout the texts, emphasizing water’s potential to be a mode and method of transformation and memory. Water, as Márquez describes, can carry illness and even the threat of death. Yet water is also a necessary life-sustaining force and animates the relationships and connections that tie bodies together. Therefore, I consider bodies of water and water in bodies, exploring the linkages between mother and daughter through birth and the ways people visualize reflections of their past lives and selves. Charting water as a recurring symbol throughout the texts captures the ebbs and flows of emotion across the texts, and illustrates the blurred, rippling boundaries reverberating between grief, love, and loss. KEYWORDS: Illness Narratives, Water, Transformation, Isabel Allende, Gabriel García Márquez Resumen: Basándose en teorías afrocaribeñas y negras, este artículo analiza el agua como una metáfora en los libros Paula de Isabel Allende y Amor en tiempos de cólera de Gabriel García Márquez. Yo interpreto estos libros como narrativas enfermizas para conceptualizar el agua como un espacio generativo donde los autores negocian la muerte, el dolor, y la pérdida. Aunque estos libros están escritos por autores latinoamericanos consagrados y canónicos, noto en las novelas muchas reiteraciones del agua tales como corrientes, nubes, y ríos para ilustrar el agua como una forma y método de transformación y memoria. El agua, como describe Márquez, puede acarrear enfermedades e incluso amenazar de muerte. Pero además, el agua es una fuerza necesaria para sustentar la vida y animar las relaciones y conexiones que unen a los cuerpos. Por lo tanto, considero los cuerpos de agua y el agua en los cuerpos, como una exploración del vínculo entre la madre e hija a través del nacimiento y las maneras que las personas visualizan las reflexiones sobre sus vidas y sobre sí mismas. Trazar el agua como un símbolo recurrente a través de los textos captura los flujos y reflujos de emociones en los libros e ilustra los límites borrosos y fluctuantes que reverberan entre el dolor, el amor y la pérdida. Palabras claves: Narrativas enfermizas, agua, transformación, Isabel Allende, Gabriel García Márquez.","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723680","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":"Simulation Game: The Pleasures of Disintegration in Sarduy’s Theater of Bodies","authors":"Chris Campanioni","doi":"10.26824/lalr.382","DOIUrl":"https://doi.org/10.26824/lalr.382","url":null,"abstract":"Abstract What are the ways in which our imposed and asserted identities work in tandem to undermine a shared politics, by obfuscating the various political projects in which these identity positions are grounded? This essay examines the work that Severo Sarduy—novelist, poet, playwright, painter, critic—produced toward the end of his life to consider the uses and usefulness of simulation as an exercise counter to the assimilation projects of the nation. In entangling the modes of autobiography, cultural reportage, and literary criticism, “Simulation Game” also looks at a poetics for migrants and their children to understand exile and extant cultural dislocation. What I am interested in is not the elaboration of a theory so much as putting its conjectures to the test of flesh; and moreover, to return this practice to the body of the text, to accommodate a narrative form that can run alongside our thoughts. Keywords: autobiography studies, Cuba, diaspora studies, exile, migration, translation Resumen ¿Cuáles son las formas en que nuestras identidades impuestas y afirmadas funcionan en conjunto para socavar una política compartida, al ofuscar los diversos proyectos políticos en los que se basan estas posiciones identitarias? Este ensayo examina la obra que Severo Sarduy–novelista, poeta, dramaturgo, pintor, crítico–produjo hacia el final de su vida para considerar los usos y utilidad de la simulación como ejercicio contrario a los proyectos de asimilación de la nación. Al entrelazar los modos de autobiografía, reportaje cultural y crítica literaria, “Simulation Game” también analiza una poética para que los inmigrantes y sus hijos comprendan el exilio y la dislocación cultural. Lo que me interesa no es tanto la elaboración de una teoría como poner a prueba sus conjeturas en la piel; y, además, devolver esta práctica al cuerpo del texto, para dar cabida a una forma narrativa que pueda transcurrir junto a nuestros pensamientos. Keywords: estudios autobiografía, Cuba, estudios de la diáspora, exilio, migración, traducción","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723575","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 género de la burocracia: <em>El libro vacío</em> de Josefina Vicens","authors":"Laura J. Torres-Rodríguez","doi":"10.26824/lalr.399","DOIUrl":"https://doi.org/10.26824/lalr.399","url":null,"abstract":"Abstract: This essay argues that the novel El libro vacío by Josefina Vicens represents a literary fiction rooted in the political problem of bureaucracy. El libro vacío systematically interrogates the bureaucrat’s writing, in the face of a social environment that renders it unproductive in advance. Nevertheless, instead of mobilizing a definition or a predetermined vision of bureaucracy, it appears in the novel as a critical and aesthetic terrain that allows the dis-sedimentation of distinctions and hierarchies that have been established between different forms of work (i.e., literary, bureaucratic, domestic). Finally, I argue that the bureaucrat's incessant questioning of the status of writing in the novel has, as critics have observed, gendered consequences. However, rather than revealing the bureaucrat as feminine, the novel stages the constitutive gender instability that characterizes the representations of the bureaucrat in the Mexican mid-century. Already in the 1950s, the hypersexualized or emasculated figure of the office worker seems to operate as a conflictive signifier of Mexican modernity. But if the representations of the bureaucrat endorsed by official culture aim to fix the ambiguity of its political function through its gender, El libro vacío tarries with that ambiguity, which runs through the figure of the bureaucrat, and presents a reflection that is committed to the instability of gender as the political principle of its interrogation. Key words: Josefina Vicens, bureaucracy, El libro vacío, masculinity, feminism, Natalia Almada Resumen: Este ensayo analiza la novela El libro vacío de Josefina Vicens como una ficción literaria arraigada en el problema político de la burocracia. El libro vacío interroga de forma sistemática la escritura del burócrata, ante un entorno social que la rinde de antemano como improductiva. Más que ofrecer una definición o una visión predeterminada de la burocracia, esta aparece en la novela como un terreno crítico y estético que permite des-sedimentar las distinciones y jerarquías establecidas entre trabajo literario, burocrático y doméstico. Por último, argumento que la interrogación incesante del estatuto de la escritura del burócrata tiene, como ha observado la crítica, consecuencias de género. Sin embargo, más que develarla como femenina, la novela pone en escena la inestabilidad en términos de género que caracteriza las representaciones del burócrata en el medio siglo mexicano. Ya en la década de 1950, la figura hipersexualizada o emasculada del oficinista parece operar como un significante conflictivo de la modernidad mexicana. Si las representaciones del burócrata avaladas por la cultura oficinal pretenden fijar la ambigüedad de su función política en el género, El libro vacío, traslada esa ambigüedad que atraviesa la figura del burócrata a una reflexión que apuesta por la inestabilidad del género como el principio de su interrogante política. Palabras claves: Josefina Vicens, El libro vacío, ","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"49 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135723574","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 Coquí Call","authors":"T.M. Spooner","doi":"10.26824/lalr.381","DOIUrl":"https://doi.org/10.26824/lalr.381","url":null,"abstract":"T. M. Spooner is the author of the novels The Salvation of La Purísima and Notes from Exile. Among others, his short fiction can be found in The Almagre Review and Flying Island Journal as the recipient of the 2022 Short Fiction prize. His essays have appeared in Studies in American Naturalism and Hispanic Journal. Spooner earned an M.A. in English Literature from Northern Arizona University.","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"50 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136319804","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":"Tierra y mar","authors":"Leila Zak","doi":"10.26824/lalr.398","DOIUrl":"https://doi.org/10.26824/lalr.398","url":null,"abstract":"Leila Zak writes in English and Spanish. She won Oxford’s Spanish Flash Fiction Competition for her piece ’Salvavidas’ in 2022. Her research interests, however, are cross-continental. Inspired by her volunteer work with refugees in Hong Kong, she wrote a debut novel Displaced and Erased (which was self-translated into Spanish). The following collection of three poems, Tierra y mar, presents an exploration of the generational silencing of indigenous languages and cultures in Latin America that has come with colonialism and forced-assimilation. She lives in Hong Kong.","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136319807","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":"Maria","authors":"Galo Romero","doi":"10.26824/lalr.379","DOIUrl":"https://doi.org/10.26824/lalr.379","url":null,"abstract":"Born and raised in Queens, New York, Galo Romero is a first generation American of Ecuadorian descent. His creative writing mixes the fantastic, bizarre, macabre, and mundane, with reflections of his Ecuadorian-American upbringing.","PeriodicalId":499662,"journal":{"name":"Latin American literary review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136319806","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}