Nicola Barker. Tierra adentro [Heading Inland]. Barcelona: El Aleph. (original) (raw)
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European Journal of Life Writing , 2020
Some of the most interesting narrative literature recently produced in Spain is distinguished by the incorporation of auto- or bio-fictional elements (for instance, Miguel Ángel Hernández, El dolor de los demás [2018]; Pablo Martín Sánchez, Diario de un viejo cabezota [2020]). Not surprisingly, this ‘trend’ has already led to many academic studies on different aspects of autobiographical fiction. The new book by Patricia López-Gay is an extremely valuable contribution to this field, since it charts in a convincing and sophisticated manner the specifically Spanish genealogy and phenomenology of this literary tendency, covers the work of representative writers in a synthetic fashion, and develops an original argument about the intersection of auto-fictional prose and the narrative configuration of the archive.
Decapitation, Castration and Creativity in Elena Garro’s Andamos Huyendo Lola [We Are Fleeing Lola]
2004
In Andamos huyendo Lola [We Are Fleeing Lola], the Mexican writer Elena Garro examines the process of writing and the consequences of authorship for the female writer. By creating a discourse of silence, characterized by omission, marginal perspectives, ambiguity, displacement and troping, Garro narratively represents the silence to which her writer-protagonist is condemned. Through this "silent," hidden discourse, her authorial personna, Lelinca, challenges the hegemony of the ubiquitous, unidentified male persecutors/censors who appear as "heads," "invisible bodies," or government representatives. Just as Garro displaces her authorial persona onto her writer-protagonist, Lelinca displaces her own authorial voice onto a cat, Lola, a frog, and male narrators in order to tell her story while appearing to submit to injuctions to silence. As she does so, she reappropriates silence and passivity, the model of femininity in Mexican thought, to develop a femino-centric text in which the creative "I" is both silent and expressive.
Catedral Tomada. Revista de crítica literaria latinoamericana, 2020
Maternidad gótica, reproducción monstruosa y un giro a la ciencia ficción: "La muñeca menor" de Rosario Ferré y "Relato del piloto" de Pedro Cabiya Resumen Entre "La muñeca menor", cuento de Rosario Ferré originalmente publicado en 1972, y "Relato del piloto que dijo adiós con la mano", novella de Pedro Cabiya aparecida en el 2003, media una masiva transformación que, para Rebekah Sheldon, refleja el paso de un "estado regulador" al orden neoliberal globalizado dentro del que se insertan parecidas representaciones contrastantes de la reproducción tanto material como biológica. Partiendo del análisis de su representación de la reproducción "monstruosa," examino en este trabajo la modalización gótica y de ciencia ficción de estos textos como articulación literaria de condiciones locales, así como de elementos de un proceso político, cultural y económico con implicaciones cada vez más críticas y urgentes para Puerto Rico y el mundo.
Gothic Maternity in Pilar Quintana’s Los abismos (2021)
Revista de Estudios Colombianos
In this article, I explore and expand upon the concept of gothic maternity in the Colombian context through a close reading of Pilar Quintana’s Los abismos. I argue for a gothic maternity that is produced both by gothic imagery and by a narrative populated by bad mothers and dead mothers who produce fear, instability, and anxiety in the narrative. Quintana’s novel is narrated by Claudia, an eight-year-old whose depressed mother tells her stories of dead women, many of whom were mothers. These ghost stories make mothers into haunting and monstrous figures that provoke a deep fear of abandonment in Claudia.
Inti Revista De Literatura Hispanica, 1994
In her study entitled, "Coming out of the Labyrinth: Women Writers in Contemporary Latin America," Susan Bassnett illustrates a turning point in women's literary production and its reception with the metaphor of Ariadne's thread: "The new Ariadnes use the thread themselves, go into the labyrinth, prepared to kill if necessary and come out independent" (266). It is characteristic of myth to rewrite itself endlessly, and upon retracing the steps of the mythological Ariadne, J. Hillis Miller finds her conflated with Arachne, the devouring spider in the mid-web (66-67). Feminist theorists and philosophers have spun the yam further, associating the weaving/writing of the labyrinthine text with a female creativity that spins a circular, impenetrable web in which the thread, rather than a means, becomes its own end, the specificity of an "écriture féminine" which creates a space for feminine "jouissance" outside or in the interstices of phallocentric discourse. 1 Myth can provide powerful images both for the articulation and the suppression of feminist concerns, but it seems appropriate to raise the question to what degree the emphasis on feminine difference and a specificity of feminine writing does not also replicate myths of binary oppositions and hierarchical terminologies. 2 Returning to the mythological Ariadne who inhabits one of the two narratives examined here, and whose figurative thread functions as a principal of femininity in the other, it is safe to say that she arms the writer with a strategic narrative thread to trace her way out of the network of patriarchal power. In "Los juegos," Cristina Peri Rossi contests and subverts the by now stereotyped metaphor of the phallic pen writing in the space of an absent feminine subject or over the fetishized female
Gothic Childbearing Monstrous Reproduction and a Science Fiction Turn Rosario Ferre and Pedro Cabiya
Catedral Tomada: Revista de Crítica Literaria latinoamericana, 2019
Resumen Entre "La muñeca menor", cuento de Rosario Ferré originalmente publicado en 1972, y "Relato del piloto que dijo adiós con la mano", novella de Pedro Cabiya aparecida en el 2003, media una masiva transformación que, para Rebekah Sheldon, refleja el paso de un "estado regulador" al orden neoliberal globalizado dentro del que se insertan parecidas representaciones contrastantes de la reproducción tanto material como biológica. Partiendo del análisis de su representación de la reproducción "monstruosa," examino en este trabajo la modalización gótica y de ciencia ficción de estos textos como articulación literaria de condiciones locales, así como de elementos de un proceso político, cultural y económico con implicaciones cada vez más críticas y urgentes para Puerto Rico y el mundo. Palabras claves Rosario Ferré; "La muñeca menor"; Gótico caribeño; Pedro Cabiya; "Relato del Piloto"; Ciencia ficción. Abstract The thirty years between the 1972 publication of Rosario Ferré's short story "La muñeca menor" and Pedro Cabiya's 2003 novella "Relato del piloto que dijo adiós con la mano" span the cultural, political, and economic "shift" from a "regulatory state" to a neoliberal global