This Will Be the Last Paper Issue of the Latin American Literary Review

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This Will Be the Last Paper Issue of the Latin American Literary Review This will be the last paper issue of the Latin American Literary Review. The editorial board has decided to take our well- recognized and venerable journal online, in collaboration with the Latin American Studies Association, which has also taken its flagship journal, the Latin American Research Review, into a fully open-access and online format. The Latin American Literary Review is looking forward to a new chapter in its history, where open-access will make our authors more widely available to a greater readership throughout the world, and the possibilities of a net-based journal open opportunities for richer content that we are only beginning to explore. Of course, we will remain a fully peer-reviewed journal, with a long history of excellence to support our venture into this new and exciting development. LATIN AMERICAN LITERARY REVIEW EDITOR: DEBRA ANN CASTILLO, Cornell University, REVIEW EDITOR: LUCILLE KERR, Northwestern University EDITORIAL BOARD: CARLOS J. ALONSO, Columbia University REBECCA E. BIRON, Dartmouth College LUIS CARCAMO-HUECHANTE, University of Texas at Austin SARA CASTRO-KLAREN, Johns Hopkins University ROSEMARY GEISDORFER FEAL, Modern Language Association ANIBAL GONZALEZ PEREZ, Yale University ELIZABETH HORAN, Arizona State University K. DAVID JACKSON, Yale University AMY Katz KAMINSKY, University of Minnesota LUCILLE KERR, Northwestern University STEPHANIE MERRIM, Brown University RANDOLPH POPE, University of Virginia VERONICA SALLES-REESE, Georgetown University MARCY SCHWartz, Rutgers University ELZBIETA SKLODOWSKA, Washington University CANDACE SlatER, University of California, Berkeley ESTELLE TARICA, University of California, Berkeley MARY BETH TIERNEY-TELLO, Wheaton College NELSON VIEIRA, Brown University VOLUME 43 JULY – DECEMBER 2016 NUMBER 86 The Latin American Literary Review is a semiannual publication Dept. Comparative Literature Goldwin Smith Hall Cornell University Ithaca, NY 14853 607-255-4155 E-mail: [email protected] • Website: www.lalrp.org The Latin American Literary Review is a peer-reviewed scholarly journal devoted to the CONTENTS Subscription Rates 2016 Individual Domestic $32.00 literature of Latin America (including the United States) and Brazil. It is published semian- Institutional Domestic $55.00 nually in English, Spanish and Portuguese. Founded by Yvette Miller in the Fall of 1972, the Individual Foreign $42.00 magazine has been very well received, and has aroused national and international interest. It is Institutional Foreign $58.00 now directed by Professor Debra A. Castillo at Cornell University. Back Issues $22.00 Bringing to its readers the most recent writing of some of the leading scholars and critics ArtICLES in the fields of Hispanic and Portuguese literature, the Latin American Literary Review is of interest to all libraries and institutions of higher learning, and especially to all departments of El teatro de Roberto Arlt: drama de la literatura, English, Modern Languages, Latin American Studies, and Comparative Literature. literatura de la vida The Latin American Literary Review is indexed in the following publications: Marcelino Viera, Ph.D. ........................................................................ 7 – American Humanities Index (AHI) – Arts and Humanities Citation Index (A&HCI) Neruda the Guerrilla: Eroticism and Insurgency in – Hispanic American Periodicals Index (HAPI) Pablo Neruda’s Los versos del capitán – International Bibliography of Periodical Literature (IBZ) – International Bibliography of Book Reviews (IBR) Barbara Fraser Valencia .................................................................... 29 – Modern Language Association of America International Bibliography (MLA) An Ethics of Pain: Carlos Cerda’s Una casa vacía Terri Gordon-Zolov .......................................................................... 59 Beginning with vol. 44 (#87) in 2016, the journal is moving to an open-access online platform, administered through the Latin American Studies Association. Bodily Remains: Body Optics and the Reverse Panopticon ARTICLE SUBMISSION GUIDELINES in Gabriel García Márquez’s The Autumn of the Patriarch Sarah Driscoll .................................................................................... 81 Articles are accepted in English, Spanish, and Portuguese. Non-English quotations do not need to be translated. You will receive an acknowledgement email as soon as we have received and processed Artistic Exploration and Subjective Transformation the article. in Mario Mendoza’s Narrative All submissions should conform to the MLA Style Manual, using endnotes rather than footnotes. Bibiana Fuentes .............................................................................. 101 Please send your electronic copy of the article to: [email protected] Debra A. Castillo, Editor How Brazilians Became Frenchmen; Latin American Literary Review or Ferdinand Denis and ‘Coloniality of Power’1 Department of Comparative Literature Marcelo Lotufo ...........................................................................117 Goldwin Smith Hall Cornell University Ithaca, NY 14853 The views expressed by the contributors do not necessarily represent those of the Editors. BOOK REVIEW SUBMISSION GUIDELINES Please send books for review to: Lucille Kerr Book Review Editor, Latin American Literary Review Department of Spanish and Portuguese Northwestern University 1860 Campus Drive - Crowe Hall 1-141 Evanston, IL 60208-2161 EL TEatro DE ROBErto Arlt: DRAMA DE LA LITEratura, LITEratura DE LA VIDA. MARCELINO VIERA, PH.D. MICHIGAN TECHNOLOGICAL UNIVERSITY Un autor anónimo profetiza [en Cuasimodo, octubre 1921] “Un arte nuevo para la Rusia sovietista”, donde serán borrados “los límites entre el artista y el público, entre la escena y el espectador…” Horacio Tarcus 755 Eran apenas pasadas las seis de la tarde. El tumulto de la puerta había desaparecido y sólo quedaban los restos de la multitud: papeles y papelitos, vendedores apurando la reposición de mercadería, y el viento acusaba sus soledades. Circo Podestá-Scotti —rezaba en la cartelera a la entrada del circo popular— “Presenta ‘Juan Moreira’ de Eduardo Gutiérrez, adaptación de José J. Podestá”. Era el 10 de abril de 1885, se estrenaba en Chivilcoy, Provincia de Buenos Aires, “Juan Moreira”. Puertas adentro transcurre la escena en que el valiente Moreira se enfrenta, facón en mano, a la partida de gendarmes comandados por el canalla, deshonesto, jefe de la localidad, cuando inesperadamente salta a la arena un gaucho del público empuñando una daga dispuesto a defender al gallardo Moreira (Mayer, en Gutiérrez 15). A grandes rasgos, esta obra ilustra el conflicto entre el gaucho que vive de la ley de la tierra, costumbres del campo, y la ciudad que visualiza la ley del hombre moderno. En el prólogo a la novela de Gutiérrez (ediciones Longseller, 2007) Marcos Mayer cuenta que frecuentes irrupciones, como 8 Latin American Literary Review El teatro de Roberto Arlt: drama de la literatura, literatura de la vida 9 las narradas más arriba, dejaban entrever la estrecha relación entre ficción y y la obra teatral-narrativa, este artículo está dividido en tres secciones: las realidad (entre literatura y política, o teatro y vida, o farsa y tragedia). Mayer dos primeras señalan la borrosa distancia entre ficción y realidad a través advierte que estas irrupciones al plano de la fantasía fueron interpretadas como del análisis de la primera obra propiamente escrita por Roberto Arlt para ignorancia del público apostado en el circo. Un público inculto y salvaje que el teatro (Trescientos Millones), y la narración de Osvaldo Bayer sobre los no podía discernir entre ficción y realidad, pero queda bien claro que sí sabía anarquistas expropiadores; mientras que la última sección reflexiona en torno distinguir los diferentes ejercicios de la justicia en la comunidad. a las consecuencias que acarrearía la tesis de un universo sin claros parámetros La anécdota del público inculto se ajusta a aquel “el señor Roberto entre la realidad y la ficción a través del análisis de las obrasSaverio el cruel y Arlt persiste aferrado a un realismo de pésimo gusto” (Arlt 310) del que el Prueba de amor. En esta última parte se propone una noción de “verdad” que mismo Arlt solía hacer burla. El crítico moderno de su época diría que en Arlt difiere de la certeza basada en la experiencia empírica y concreta de la realidad convergen una realidad de pésimo gusto con una ficción de pésimo gusto con y sus procesos racionales modernos.3 su consecuente público inculto, y de mal gusto, que no entiende el orden de la Mirta Arlt, la hija de Roberto, narra una anécdota que brinda algunas emergente estética liberal y su valor cultural. De ahí que su escritura, la de Arlt, pistas sobre la relación tan particular que tienen la realidad y la ficción en Arlt. se encuentre reprimida (Piglia, Respiración) y su impostura sea un agravio a Cuenta que leer Los siete locos (1929) fue difícil; lo fue porque se decía que la “razón” de la alta cultura.1 Más allá de la impostura frente al “buen estilo” Silvio Astier, el personaje de El juguete rabioso (1926), era un autorretrato de literario que lo definiría como el único “escritor verdaderamente moderno” Roberto adolescente; por lo que había que entender que Erdosain, protagonista (Piglia 132), lo que interesa señalar en estas líneas es el carácter efectista de sumamente abyecto de Los siete locos, era también un autorretrato. Frente a la su narrativa como estrategia para acceder a la “verdad”.2 Si
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