“Hasta tomar el cielo por asalto”: Competing Historical Moods in Patricio Pron’s "El espíritu de mis padres sigue subiendo en la lluvia" (original) (raw)

2022, Latin American Literary Review

Patricio Pron’s "El espíritu de mis padres sigue subiendo en la lluvia" is among the many twenty-first century Argentine novels that grapple with the historical events of the 1960s and 70s and their ongoing repercussions in the present. Based on the title of Pron’s work, one might assume that the text would be focused on the spirit of possibility that characterized his parents’ generation — the “spirit of hope for change” that John Beverley has identified as part of the cultural ethos of the armed struggle. However, Pron never provides a detailed account of his narrator’s parents’ activities as members of the Peronist organization Guardia de Hierro, nor does he offer a thorough depiction of the spirit of the era. This marked contradiction between what the title suggests the novel is about and what it actually addresses gestures to an alternate layer of meaning in the text, conveying the way in which the legacies of both the dictatorship and of neoliberal governance continue to overshadow memories and representations of the political movements that preceded the dictatorship and of the spirit of possibility that accompanied them. At the same time, the novel’s title and the passage from which it emerges also speak to a coexisting desire in twenty-first century Argentine literature to regain access to the spirit of possibility of the political movements of the 1960s and early 70s so as to use it for the country’s future.

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Sins of the Father(land): Redefining Postmemory in Contemporary Argentine Literature

In the aftermath of state terror, memory has emerged as a significant and perhaps contentious topic. The particular type of memory considered in this article is that of the children of those who suffered state repression. The wider impact of events and how these are remembered is a growing area of memory studies and has seen the implementation of terms such as multidirectional memory, absent memory, prosthetic memory and postmemory, the latter being the one most often applied to children of the post-generation. This article explores the literary legacy of the repression in Argentina during the dictatorship period of 1976 to 1983 (known as ‘El Proceso’), as demonstrated in the literature of the post-generation. Using Félix Bruzzone’s 2008 novel Los topos as its primary example, it will consider questions of second-generation memory and identity and explore the definition of postmemory, its suitability and applicability to the Argentine situation and the literary manifestation of this type of memory. This article demonstrates how works of contemporary Argentine testimonial literature not only redefine the concept of witness but also of memory and in particular, postmemory.

Introduction: New Direction in Twentieth-Century Argentine Political History

2014

In Argentina, the March 1976 coup d’etat is a conceptual fulcrum. Historians have neatly divided Argentina’s political, social, and cultural pasts as post- and pre-coup. There is a more compelling derivative, though, of that linear break. What the proceso means—how it is understood together with its consequences—keeps shifting, like the disturbing physical breaks in the urban geography of a futuristic Buenos Aires portrayed in novelist Ricardo Piglia’s La ciudad ausente. In part, changing understandings of what the proceso means to past and present complements Argentina’s unusual relationship with its dictatorial past. With the fall of authoritarian rule in 1983, Argentina was the first country in the region to form a truth commission to search for answers into the how and why of murderous dictatorship. It was also the first to bring to trial, convict and imprison military leaders for crimes committed as heads of state—this while dictatorships still functioned in 1980s Paraguay and ...

“Post- Utopian Imaginaries. Narrating Uncertainty” in Sara Castro Klarén (Ed.): Blackwell Companion to Latin American Literature and Culture, Oxford, UK: Blackwell Publishing, 2008: 620-635

During the early 1980s, most Latin American countries were slowly returning to democracy after years of brutal military regimes. Whereas the most distinctive trend of the 1960s and 1970s was the uprising of a wide variety of guerrilla movements and a series of violent military coups (from Peru in 1968 to Argentina and Ecuador in 1976), the main characteristic of the 1980s was a "newly minted faith in democratic values" (Sarlo, 1984) that could bring justice, social peace, and individual rights to states whose public spheres had completely collapsed and whose economies were in a shambles. In 1984, during his successful presidential campaign, Raúl Alfonsín (Argentina, 1927-) summarized this feeling in the slogan: "With democracy, one lives, one eats, one educates, one works." Despite its naïveté, the statement illustrated how democracy seemed to offer a political alternative that would bring transparency to the political process, and allow for economic projects based on a certain level of social consensus.

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