Micah McKay | University of Alabama - Tuscaloosa (original) (raw)
Edited Volume by Micah McKay
Hispanic Issues On Line, 2019
Papers by Micah McKay
Symposium: A Quarterly Journal In Modern Literatures, Jan 2, 2023
Romance Quarterly, Jul 2, 2023
Symposium: A Quarterly Journal in Modern Literatures
Latin American Literary Review
Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a cle... more Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a clear and profound engagement with environmental themes, such as the lives and experiences of non-human animals and the effects of pollution on natural environments. In this essay, I examine a series of Pacheco’s poems that reflect on the production of trash and the act of disposal. Through his consideration of the waste that humans produce, Pacheco manages to draw our attention to the centrality of garbage as a socio-material element that mediates relationships between humans and the more-than-human environment. By reading Pacheco’s poetry through the lens of waste and disposal, I argue that the trash is his work throws in relief three central concerns of contemporary ecological thought: 1) the difficulty of squaring Western, anthropocentric notions of time with planetary timescales; 2) the uneven exposure of certain bodies to varying levels of toxicity; and 3) the vulnerability of humans ...
Latin American Literary Review
In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sl... more In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sleeping Children (1996), which portrays a community of trash pickers and orphans in Tijuana at a moment in which the effects of NAFTA and an increasingly militarized approach to policing the U.S.-Mexico border were taking shape. My engagement with the text combines close reading with concepts from both ecocriticism and biopolitics in order to tease out the way in which Urrea’s vignettes trouble received notions of progress, freedom, and containment. By considering the book’s deployment of two descriptive techniques for rendering the garbage dump and other spaces—one, a technique I call “time-lapse description” and the other, the insistent use of lists—I propose that the border zone that Urrea depicts is a space from which to think through the troubling and mutually-imbricated environmental, political, and economic crises that are paradoxically exceptional and exemplary of the current orde...
Revista Canadiense de Estudios Hispánicos, 2020
Romance Notes, 2019
elaborada por Gutiérrez-marcada por un énfasis en los espacios en decadencia y los espacios de en... more elaborada por Gutiérrez-marcada por un énfasis en los espacios en decadencia y los espacios de encierro-enfatiza las tensiones y desencuentros entre los elementos fundamentales de la producción dialéctica del espacio: las representaciones del espacio, los espacios representacionales y las prácticas espaciales. Asimismo, considero la relación entre la referencialidad y la performatividad con respecto a la producción del espacio en la obra para dilucidar la forma en que el texto en sí se posiciona entre el lector y el referente histórico que pretende textualizar en sus páginas, a saber, la Cuba del Período Especial.
Revista Canadiense de Estudios Hispánicos, 2017
En este artículo, analizo el papel de la basura en la representación del espacio urbano en tres n... more En este artículo, analizo el papel de la basura en la representación del espacio urbano en tres novelas argentinas escritas durante un período de implementación intensiva de políticas neoliberales en ese país: El aire de Sergio Chejfec, Bariloche de Andrés Neuman y La villa de César Aira. Considero la manera en que los desechos sirven tanto para consolidar como para interrumpir la coherencia de los espacios representados en las novelas en cuestión. Propongo, además, que la presencia de la basura en estos textos funciona como un indicio del impasse temporal que genera el neoliberalismo.
A Companion to Spanish Environmental Cultural Studies, Jan 17, 2023
For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element th... more For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element that marks the limit where inclusion and exclusion enter into a zone of indistinction, a zone where bodies are subjected to the machinations of sovereign power, but where the potential for new social arrangements exists as well. In this essay, I mobilize Agamben’s conceptualization of the threshold in order to analyze two works from Brazil and Argentina that portray the phenomenon of scavenging, a feature of urban life that has become more visible and widespread in cities like Rio de Janeiro and Buenos Aires as a result of the economic and social crises of the neoliberal era. Eduardo Coutinho’s documentary film Boca de Lixo (1993) and Alicia Dujovne Ortiz’s book ¿Quién mató a Diego Duarte? (2010) are both works of nonfiction that approach the portrayal of the lives of people who work in trash dumps with complexity and self-reflection. My reading of the film and the crónica proposes that trash is the material manifestation of a threshold that opens onto a form of collective life based not on preconceived notions of essentialized identity, but rather on what Agamben theorizes as “inessential commonality” in his work The Coming Community. The communities portrayed by Coutinho and Dujovne Ortiz emerge from the nexus of ecological, socioeconomic, and political catastrophes materialized in the garbage dump at the same time that they resist the forces that normalize those catastrophes.
Recommended Citation McKay, Micah (2019) "Ros, Ofelia. Lo siniestro se sigue riendo en la li... more Recommended Citation McKay, Micah (2019) "Ros, Ofelia. Lo siniestro se sigue riendo en la literatura de Lamborghini, Aira y Carrera, y en la producción cultural poscrisis 2001. University of Pittsburgh/Instituto Internacional de Literatura Iberoamericana, 2016. ISBN: 1-930744-75-7.," Dissidences: Vol. 9 : Iss. 14 , Article 1. Available at: https://digitalcommons.bowdoin.edu/dissidences/vol9/iss14/1
Latin American Literary Review, 2021
In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sl... more In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sleeping Children (1996), which portrays a community of trash pickers and orphans in Tijuana at a moment in which the effects of NAFTA and an increasingly militarized approach to policing the U.S.-Mexico border were taking shape. My engagement with the text combines close reading with concepts from both ecocriticism and biopolitics in order to tease out the way in which Urrea’s vignettes trouble received notions of progress, freedom, and containment. By considering the book’s deployment of two descriptive techniques for rendering the garbage dump and other spaces—one, a technique I call “time-lapse description” and the other, the insistent use of lists—I propose that the border zone that Urrea depicts is a space from which to think through the troubling and mutually-imbricated environmental, political, and economic crises that are paradoxically exceptional and exemplary of the current order of things.
Luso-Brazilian Review, 2016
Just north of the city of Rio de Janeiro, in a suburb called Duque de Caxias, lies a now-defunct ... more Just north of the city of Rio de Janeiro, in a suburb called Duque de Caxias, lies a now-defunct landfill that took its name from the neighborhood in which was located: Jardim Gramacho. While it closed in 2012 after over 34 years of operation, at the height of its life as an active dumping site for the refuse of parts of Rio and several of its suburbs, over 9,000 tons of garbage were dumped in the landfill every day. Due to the lack of formal selective waste collection and recycling programs in Rio over that time span, all of the waste thrown away by the inhabitants who were served by Jardim Gramacho, whether that waste was potentially recyclable or not, ended up in the landfill. Driven by the dire straits in which many of the urban poor found themselves during the severe economic downturn that followed the so-called “economic miracle” engineered in the first part of the 1970s by the military dictatorship that governed Brazil from 1964 to 1985, the Jardim Gramacho landfill became a chaotic, dangerous worksite in which catadores, or “pickers,” scavenged the refuse for scrap metal, plastic, cardboard, or any other reusable item that they could sell for cash. Over the years, their numbers grew, and by the middle of the last decade, over 1,300 catadores were working in twelve-hour shifts to salvage an average of 180 tons of recyclable material per day from the landfill. These staggering figures are underscored by the exceedingly dangerous work environment of the landfill in which the catadores pick through the trash alongside rats, vultures, and biting flies and are constantly at risk of sustaining severe injuries or contracting diseases that range from digestive maladies to tetanus to hepatitis. Despite its closing in 2012, the fundamental question of Jardim Gramacho remains. What does this landfill have to tell us? Is the methane gas that will be harvested from it all that it can now give us, or does it produce something else as well, some kind of knowledge that emanates from the cesspool of a consumer society’s castoffs? It is my contention that Jardim Gramacho does in fact have something to tell us, and in this presentation, I consider two different documentary films as attempts to find in the landfill the terrifying abstract materialism that Slavoj Žižek calls for, one that allows for the recreation of aesthetic dimension in trash itself. These films are Estamira (2004), directed by Marcos Prado, and Waste Land (2009), directed by Lucy Walker with co-directors João Jardim and Karen Hardley, both of which take up Jardim Gramacho as their ultimate object of representation. By examining the ethical implications of the documentaries’ attempts to represent the reality of Jardim Gramacho, I conclude that the films propose divergent discourses regarding the alterity of the landfill and the catadores that struggle to make a life there.
Latin American Literary Review, 2020
Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a cle... more Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a clear and profound engagement with environmental themes, such as the lives and experiences of non-human animals and the effects of pollution on natural environments. In this essay, I examine a series of Pacheco’s poems that reflect on the production of trash and the act of disposal. Through his consideration of the waste that humans produce, Pacheco manages to draw our attention to the centrality of garbage as a socio-material element that mediates relationships between humans and the more-than-human environment. By reading Pacheco’s poetry through the lens of waste and disposal, I argue that the trash in his work throws into relief three central concerns of contemporary ecological thought: 1) the difficulty of squaring Western, anthropocentric notions of time with planetary timescales; 2) the uneven exposure of certain bodies to varying levels of toxicity; and 3) the vulnerability of humans in the face of ecological crisis. In this sense, I contend that Pacheco’s poetry constitutes a significant aesthetic contribution to our attempts to think through notions like the Anthropocene, which, in essence, elevates the waste produced by (certain) humans to the status of epoch-defining actor. In short, Pacheco’s poetry helps us channel our energy toward dealing with a world full of trash.
Romance Notes, 2019
Este artículo es un estudio del tema del espacio en Trilogía sucia de La Habana de Pedro Juan Gut... more Este artículo es un estudio del tema del espacio en Trilogía sucia de La Habana de Pedro Juan Gutiérrez. Leyendo la novela a la luz de la teoría espacial de Henri Lefebvre, propongo que la representación de Centro Habana elaborada por Gutiérrez—marcada por un énfasis en los espacios en decadencia y los espacios de encierro—enfatiza las tensiones y desencuentros entre los elementos fundamentales de la producción dialéctica del espacio: las representaciones del espacio, los espacios representacionales y las prácticas espaciales. Asimismo, considero la relación entre la referencialidad y la performatividad con respecto a la producción del espacio en la obra para dilucidar la forma en que el texto en sí se posiciona entre el lector y el referente histórico que pretende textualizar en sus páginas, a saber, la Cuba del Período Especial.
Environmental Cultural Studies Through Time: The Luso-Hispanic World, 2019
For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element th... more For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element that marks the limit where inclusion and exclusion enter into a zone of indistinction, a zone where bodies are subjected to the machinations of sovereign power, but where the potential for new social arrangements exists as well. In this essay, I mobilize Agamben’s conceptualization of the threshold in order to analyze two works from Brazil and Argentina that portray the phenomenon of scavenging, a feature of urban life that has become more visible and widespread in cities like Rio de Janeiro and Buenos Aires as a result of the economic and social crises of the neoliberal era. Eduardo Coutinho’s documentary film Boca de Lixo (1993) and Alicia Dujovne Ortiz’s book ¿Quién mató a Diego Duarte? (2010) are both works of nonfiction that approach the portrayal of the lives of people who work in trash dumps with complexity and self-reflection. My reading of the film and the crónica proposes that trash is the material manifestation of a threshold that opens onto a form of collective life based not on preconceived notions of essentialized identity, but rather on what Agamben theorizes as “inessential commonality” in his work The Coming Community. The communities portrayed by Coutinho and Dujovne Ortiz emerge from the nexus of ecological, socioeconomic, and political catastrophes materialized in the garbage dump at the same time that they resist the forces that normalize those catastrophes.
Symposium: A Quarterly Journal In Modern Literatures, Jan 2, 2023
Romance Quarterly, Jul 2, 2023
Symposium: A Quarterly Journal in Modern Literatures
Latin American Literary Review
Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a cle... more Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a clear and profound engagement with environmental themes, such as the lives and experiences of non-human animals and the effects of pollution on natural environments. In this essay, I examine a series of Pacheco’s poems that reflect on the production of trash and the act of disposal. Through his consideration of the waste that humans produce, Pacheco manages to draw our attention to the centrality of garbage as a socio-material element that mediates relationships between humans and the more-than-human environment. By reading Pacheco’s poetry through the lens of waste and disposal, I argue that the trash is his work throws in relief three central concerns of contemporary ecological thought: 1) the difficulty of squaring Western, anthropocentric notions of time with planetary timescales; 2) the uneven exposure of certain bodies to varying levels of toxicity; and 3) the vulnerability of humans ...
Latin American Literary Review
In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sl... more In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sleeping Children (1996), which portrays a community of trash pickers and orphans in Tijuana at a moment in which the effects of NAFTA and an increasingly militarized approach to policing the U.S.-Mexico border were taking shape. My engagement with the text combines close reading with concepts from both ecocriticism and biopolitics in order to tease out the way in which Urrea’s vignettes trouble received notions of progress, freedom, and containment. By considering the book’s deployment of two descriptive techniques for rendering the garbage dump and other spaces—one, a technique I call “time-lapse description” and the other, the insistent use of lists—I propose that the border zone that Urrea depicts is a space from which to think through the troubling and mutually-imbricated environmental, political, and economic crises that are paradoxically exceptional and exemplary of the current orde...
Revista Canadiense de Estudios Hispánicos, 2020
Romance Notes, 2019
elaborada por Gutiérrez-marcada por un énfasis en los espacios en decadencia y los espacios de en... more elaborada por Gutiérrez-marcada por un énfasis en los espacios en decadencia y los espacios de encierro-enfatiza las tensiones y desencuentros entre los elementos fundamentales de la producción dialéctica del espacio: las representaciones del espacio, los espacios representacionales y las prácticas espaciales. Asimismo, considero la relación entre la referencialidad y la performatividad con respecto a la producción del espacio en la obra para dilucidar la forma en que el texto en sí se posiciona entre el lector y el referente histórico que pretende textualizar en sus páginas, a saber, la Cuba del Período Especial.
Revista Canadiense de Estudios Hispánicos, 2017
En este artículo, analizo el papel de la basura en la representación del espacio urbano en tres n... more En este artículo, analizo el papel de la basura en la representación del espacio urbano en tres novelas argentinas escritas durante un período de implementación intensiva de políticas neoliberales en ese país: El aire de Sergio Chejfec, Bariloche de Andrés Neuman y La villa de César Aira. Considero la manera en que los desechos sirven tanto para consolidar como para interrumpir la coherencia de los espacios representados en las novelas en cuestión. Propongo, además, que la presencia de la basura en estos textos funciona como un indicio del impasse temporal que genera el neoliberalismo.
A Companion to Spanish Environmental Cultural Studies, Jan 17, 2023
For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element th... more For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element that marks the limit where inclusion and exclusion enter into a zone of indistinction, a zone where bodies are subjected to the machinations of sovereign power, but where the potential for new social arrangements exists as well. In this essay, I mobilize Agamben’s conceptualization of the threshold in order to analyze two works from Brazil and Argentina that portray the phenomenon of scavenging, a feature of urban life that has become more visible and widespread in cities like Rio de Janeiro and Buenos Aires as a result of the economic and social crises of the neoliberal era. Eduardo Coutinho’s documentary film Boca de Lixo (1993) and Alicia Dujovne Ortiz’s book ¿Quién mató a Diego Duarte? (2010) are both works of nonfiction that approach the portrayal of the lives of people who work in trash dumps with complexity and self-reflection. My reading of the film and the crónica proposes that trash is the material manifestation of a threshold that opens onto a form of collective life based not on preconceived notions of essentialized identity, but rather on what Agamben theorizes as “inessential commonality” in his work The Coming Community. The communities portrayed by Coutinho and Dujovne Ortiz emerge from the nexus of ecological, socioeconomic, and political catastrophes materialized in the garbage dump at the same time that they resist the forces that normalize those catastrophes.
Recommended Citation McKay, Micah (2019) "Ros, Ofelia. Lo siniestro se sigue riendo en la li... more Recommended Citation McKay, Micah (2019) "Ros, Ofelia. Lo siniestro se sigue riendo en la literatura de Lamborghini, Aira y Carrera, y en la producción cultural poscrisis 2001. University of Pittsburgh/Instituto Internacional de Literatura Iberoamericana, 2016. ISBN: 1-930744-75-7.," Dissidences: Vol. 9 : Iss. 14 , Article 1. Available at: https://digitalcommons.bowdoin.edu/dissidences/vol9/iss14/1
Latin American Literary Review, 2021
In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sl... more In this essay, I undertake an analysis of Luis Alberto Urrea’s non-fiction book By the Lake of Sleeping Children (1996), which portrays a community of trash pickers and orphans in Tijuana at a moment in which the effects of NAFTA and an increasingly militarized approach to policing the U.S.-Mexico border were taking shape. My engagement with the text combines close reading with concepts from both ecocriticism and biopolitics in order to tease out the way in which Urrea’s vignettes trouble received notions of progress, freedom, and containment. By considering the book’s deployment of two descriptive techniques for rendering the garbage dump and other spaces—one, a technique I call “time-lapse description” and the other, the insistent use of lists—I propose that the border zone that Urrea depicts is a space from which to think through the troubling and mutually-imbricated environmental, political, and economic crises that are paradoxically exceptional and exemplary of the current order of things.
Luso-Brazilian Review, 2016
Just north of the city of Rio de Janeiro, in a suburb called Duque de Caxias, lies a now-defunct ... more Just north of the city of Rio de Janeiro, in a suburb called Duque de Caxias, lies a now-defunct landfill that took its name from the neighborhood in which was located: Jardim Gramacho. While it closed in 2012 after over 34 years of operation, at the height of its life as an active dumping site for the refuse of parts of Rio and several of its suburbs, over 9,000 tons of garbage were dumped in the landfill every day. Due to the lack of formal selective waste collection and recycling programs in Rio over that time span, all of the waste thrown away by the inhabitants who were served by Jardim Gramacho, whether that waste was potentially recyclable or not, ended up in the landfill. Driven by the dire straits in which many of the urban poor found themselves during the severe economic downturn that followed the so-called “economic miracle” engineered in the first part of the 1970s by the military dictatorship that governed Brazil from 1964 to 1985, the Jardim Gramacho landfill became a chaotic, dangerous worksite in which catadores, or “pickers,” scavenged the refuse for scrap metal, plastic, cardboard, or any other reusable item that they could sell for cash. Over the years, their numbers grew, and by the middle of the last decade, over 1,300 catadores were working in twelve-hour shifts to salvage an average of 180 tons of recyclable material per day from the landfill. These staggering figures are underscored by the exceedingly dangerous work environment of the landfill in which the catadores pick through the trash alongside rats, vultures, and biting flies and are constantly at risk of sustaining severe injuries or contracting diseases that range from digestive maladies to tetanus to hepatitis. Despite its closing in 2012, the fundamental question of Jardim Gramacho remains. What does this landfill have to tell us? Is the methane gas that will be harvested from it all that it can now give us, or does it produce something else as well, some kind of knowledge that emanates from the cesspool of a consumer society’s castoffs? It is my contention that Jardim Gramacho does in fact have something to tell us, and in this presentation, I consider two different documentary films as attempts to find in the landfill the terrifying abstract materialism that Slavoj Žižek calls for, one that allows for the recreation of aesthetic dimension in trash itself. These films are Estamira (2004), directed by Marcos Prado, and Waste Land (2009), directed by Lucy Walker with co-directors João Jardim and Karen Hardley, both of which take up Jardim Gramacho as their ultimate object of representation. By examining the ethical implications of the documentaries’ attempts to represent the reality of Jardim Gramacho, I conclude that the films propose divergent discourses regarding the alterity of the landfill and the catadores that struggle to make a life there.
Latin American Literary Review, 2020
Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a cle... more Within the vast body of poetry written by José Emilio Pacheco (Mexico, 1939-2014), there is a clear and profound engagement with environmental themes, such as the lives and experiences of non-human animals and the effects of pollution on natural environments. In this essay, I examine a series of Pacheco’s poems that reflect on the production of trash and the act of disposal. Through his consideration of the waste that humans produce, Pacheco manages to draw our attention to the centrality of garbage as a socio-material element that mediates relationships between humans and the more-than-human environment. By reading Pacheco’s poetry through the lens of waste and disposal, I argue that the trash in his work throws into relief three central concerns of contemporary ecological thought: 1) the difficulty of squaring Western, anthropocentric notions of time with planetary timescales; 2) the uneven exposure of certain bodies to varying levels of toxicity; and 3) the vulnerability of humans in the face of ecological crisis. In this sense, I contend that Pacheco’s poetry constitutes a significant aesthetic contribution to our attempts to think through notions like the Anthropocene, which, in essence, elevates the waste produced by (certain) humans to the status of epoch-defining actor. In short, Pacheco’s poetry helps us channel our energy toward dealing with a world full of trash.
Romance Notes, 2019
Este artículo es un estudio del tema del espacio en Trilogía sucia de La Habana de Pedro Juan Gut... more Este artículo es un estudio del tema del espacio en Trilogía sucia de La Habana de Pedro Juan Gutiérrez. Leyendo la novela a la luz de la teoría espacial de Henri Lefebvre, propongo que la representación de Centro Habana elaborada por Gutiérrez—marcada por un énfasis en los espacios en decadencia y los espacios de encierro—enfatiza las tensiones y desencuentros entre los elementos fundamentales de la producción dialéctica del espacio: las representaciones del espacio, los espacios representacionales y las prácticas espaciales. Asimismo, considero la relación entre la referencialidad y la performatividad con respecto a la producción del espacio en la obra para dilucidar la forma en que el texto en sí se posiciona entre el lector y el referente histórico que pretende textualizar en sus páginas, a saber, la Cuba del Período Especial.
Environmental Cultural Studies Through Time: The Luso-Hispanic World, 2019
For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element th... more For Italian philosopher Giorgio Agamben, the threshold is a key textual and conceptual element that marks the limit where inclusion and exclusion enter into a zone of indistinction, a zone where bodies are subjected to the machinations of sovereign power, but where the potential for new social arrangements exists as well. In this essay, I mobilize Agamben’s conceptualization of the threshold in order to analyze two works from Brazil and Argentina that portray the phenomenon of scavenging, a feature of urban life that has become more visible and widespread in cities like Rio de Janeiro and Buenos Aires as a result of the economic and social crises of the neoliberal era. Eduardo Coutinho’s documentary film Boca de Lixo (1993) and Alicia Dujovne Ortiz’s book ¿Quién mató a Diego Duarte? (2010) are both works of nonfiction that approach the portrayal of the lives of people who work in trash dumps with complexity and self-reflection. My reading of the film and the crónica proposes that trash is the material manifestation of a threshold that opens onto a form of collective life based not on preconceived notions of essentialized identity, but rather on what Agamben theorizes as “inessential commonality” in his work The Coming Community. The communities portrayed by Coutinho and Dujovne Ortiz emerge from the nexus of ecological, socioeconomic, and political catastrophes materialized in the garbage dump at the same time that they resist the forces that normalize those catastrophes.
Revista Canadiense de Estudios Hispánicos, 2017
Este artículo es un análisis del papel que la basura y las actividades laborales y sociales que s... more Este artículo es un análisis del papel que la basura y las actividades laborales y sociales que surgen en torno a ella desempeñan en la representación del espacio urbano en tres novelas argentinas escritas durante un período de implementación intensiva de políticas neoliberales en ese país: El aire de Sergio Chejfec, Bariloche de Andrés Neuman y La villa de César Aira. Tomando como punto de partida la teorización de la producción del espacio como un proceso dialéctico (Henri Lefebvre) y la caracterización del neoliberalismo como la reducción de lo social a la lógica del mercado (David Harvey), se considera la manera en que los desechos sirven tanto para consolidar como para interrumpir la coherencia de los espacios representados en las novelas en cuestión. Además, se analiza la presencia de la basura en estos textos como un indicio del impasse temporal que subyace el neoliberalismo.
H-Environment, H-Net Reviews, 2021
Commissioned by Daniella McCahey (Texas Tech University) One of the most valuable things that lit... more Commissioned by Daniella McCahey (Texas Tech University) One of the most valuable things that literary and cultural studies have to offer the environmental humanities is a rich, critical perspective on the role of language in shaping the way humans interact with the more-than-human world. We neces
Revista Canadiense de Estudios Hispánicos, 2019
Dissidences: Hispanic Journal of Theory and Criticism, 2019