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TUTTAMERICA
PERIFERIE
ILUSES GEOGRFICAS
SOBRE A VOLUBILIDADE DA NOO DE PERIFERIA
NO ESPAO-TEMPO GLOBAL
Fantasmas da exceo
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DANIELA BIRMAN
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versos. Como destaca Penna, a chacina dos presos foi coetnea formao
da chamada bancada da bala e organizao do PCC (Primeiro Comando
da Capital).
8 No afirmo, evidentemente, que este acontecimento passou em bran-
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Mudanas do campo
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2010).
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Lima Barreto
autor, a citada A vida de Lima Barreto, por Francisco de Assis Barbosa, e suas
Obras completas, tambm dirigidas por Assis Barbosa, com a colaborao de
Antnio Houaiss e M. Cavalcanti Proena.
15 Cf. Eugnio Gomes, Lima Barreto Coelho Neto, Afrnio
Coutinho (org.), A literatura no Brasil (So Paulo: Global, 2002), pp. 218-33.
Sobre as origens do clich de Lima Barreto como escritor panfletrio, ver
artigo ao qual me apoio: Alice urea Penteado Martha, Leitura e percep-
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Autntica, 2015).
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final dos anos 50, no Rio de Janeiro, nos quais Maura se introduziu, ver
Maria Luisa Scaramella, Narrativas e sobreposies, Tese de Doutorado
(Campinas: Unicamp, Instituto de Filosofia e Cincias Humanas, 2010).
Sobre o suplemento dominical do Jornal do Brasil e a clebre reforma grfi-
ca deste veculo, ver, respectivamente, Alzira Alves Abreu, Os suplementos
literrios: os intelectuais e a imprensa e Marieta de Moraes Fereira, A
reforma do Jornal do Brasil. Alzira Alves Abreu et al., A imprensa em tran-
sio (Rio de Janeiro: Editora Fundao Getlio Vargas, 1996), pp. 13-60 e
141-55.
23 Sobre os vnculos entre o concretismo e o Ateli do Engenho de
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43 Ibidem, p. 404.
44 A respeito destes chamados autorizadores, ver Joo Camillo
Penna, Sujeitos da pena, cit.
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VINCENZO BAVARO
I care. I care about it all. It takes too much energy not to care.
Yesterday I counted twenty-six gray hairs on the top of my head
all from trying not to care. . . .
The why of why we are here is an intrigue for adolescents; the
how is what must command the living.
Which is why I have lately become an insurgent again.
Lorraine Hansberry, The Sign in Sidney Brusteins Window
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author herself and posthumously by her literary agent and former husband
Robert Nemiroff. After the 1959 edition, there is a script from the 1961
movie, together with an unfilmed screenplay by Hansberry, then a musical
version by Nemiroff from 1973, and finally the essential 1984 edition that
reintroduced a few formerly deleted scenes.
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Both plays are set in Chicago, within the walls of two rat-
her different households, at least on the surface. Hansberry
stages the story of the Youngers, an African American family
and their overcrowded two bedroom apartment in the South
Side, somewhere around what was known at the time as
Chicagos Black Belt, or Bronzeville, an actual black ghetto
that has even today the greatest concentration of public hou-
sing in the nation.3 The title quotes the renowned poem
Harlem by Langston Hughes, and it refers to what may hap-
pen to a dream deferred: it dries up like a raisin in the sun.
Dreams, and their deferral, are truly at the thematic heart
of the 1959 play. The black matriarch at the center of the
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Library, 1995). Due to its canonical status, Hansberrys A Raisin in the Sun
circulates widely in a variety of formats and editions. For increased clarity
and simplicity, I will henceforth include also numerical reference to Act and
Scene parenthetically after the quotations.
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2012). All the following references to the play will be included parentheti-
cally in the text.
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My people are poor. And they are tired. And they are deter-
mined to live. Our Southside is a place apart:
each piece of our living is a protest.8
Hansberry in Her Own Words [1969], ed. Robert Nemiroff (New York:
Vintage Books, 1995), p. 17.
9 American Conservatory Theater, Words on Plays: Clybourne Park, pp.
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cit., p. 36.
12 Sam Lasman, Fighting for Home: The Roots of A Raisin in the Sun,
http://www.huntingtontheatre.org/mobile/Articles/?depth=1&srcid=4125
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http://www.thehistoryreader.com/contemporary-history/lorraine-hans-
berry-and-chicago-segregation/
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17
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20
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department/words_on_plays/Clybourne%20Park%20Words%20on%20Pl
ays%20(2011).pdf
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American Classic, Theatre Journal, Vol. 38, No. 4 (December 1986): 442.
26 James Baldwin, Sweet Lorraine, The Price of the Ticket: Collected
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A Raisin in the Sun, Journal of Black Studies, Vol. 4, No. 3 (March 1974):
243.
31 Lorraine Hansberry, Willy, Village Voice, Aug 1959, p. 198.
32 Mark Hodin, Lorraine Hansberrys Absurdity: The Sign in Sidney
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P., 1988).
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drama that Cruse was moving to the play seems then to be iro-
nically appropriate, but as is the case with many male critics
before him that disqualified both female authorship and what
they may have termed sentimentalism, it proves instead intel-
lectually shortsighted.38
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Rubin, Why does the Clybourne Park playwright put such a premium on
the freedom to provoke?, Theatre Communications Group. American
Conservatory Theater, October 2011.
http://www.tcg.org/publications/at/oct11/brucenorris.cfm, p. 149.
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entity, sometimes it requires the use of plural personal pronouns and posses-
sive adjectives (they, them, their) in order to express its plurality that the
we pronoun entails. In this way their multiplicity-in-unity will not be dis-
regarded.
3 Susana Onega and Jean-Michel Ganteau, Contemporary Trauma
Narratives: Liminality and the Ethics of Form (New York: Routledge, 2014),
pp. 2, 10.
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2002), p. 103.
7 See Debra Shostaks article A story we could live with: Narrative
Voice, the Reader and Jeffrey Eugenidess The Virgin Suicides, MFS, vol. 55,
n. 4 (2009): 808-32.
8 Martin Dines, Suburban Gothic and the Ethnic Uncanny in Jeffrey
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Routledge, 2008), p. 1.
11 Alice Truax, Martyrs on the Block, New York Books (June 10,
1993). <http://www.nybooks.com/articles/archives/1993/jun/10/martyrs-
on-the-block/>. Accessed June 2, 2016. When the book was published,
Alice Truaxs complained that [t]here isnt much plot in The Virgin Suicides
and there isnt much character development either.
12 Boris Cyrulnik, El murmullo de los fantasmas: volver a la vida despus
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acting out, is a state in which the traumatized are possessed by the past
and repeat compulsively acts and behaviors which draw them near the lost
object (pp. 65-66). On the contrary, mourning or working through invol-
ves distinguishing between past and present and allows for critical judgment
of and distance from the traumatic past. Acting out, however, is a pre-requi-
site for working through (p. 70).
14 Eugenides, The Virgin Suicides, cit., p. 249.
15 Catherine Jurca, White Diaspora. The Suburb and the Twentieth-
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mystery but simple selfishness. The girls took into their own
hands decisions better left to God (248). Then again, the tex-
tual implications go against the narrators position: how is it
possible that the girls be selfish and individualist if they are at
the same time active environmentalists? The environmental
movement of the seventies considered communal good more
important than private freedom to manage ones own property
in the way the owner pleased. In the book, the girls seem to
signify nature and innocence while the adult suburban inhabi-
tantsthe desire to subdue nature and innocence to the rules
of culture and conservative suburban values: Mrs. Lisbon
thought the darker urges of dating could be satisfied by frolic
in the open airlove sublimated by lawn darts. [] Mrs.
Lisbon, too, believed in keeping romance under surveillance
(116-17). The gradual decay in the natural environment in the
neighborhood is paralleled by the decay in the Lisbons house,
which is portrayed as becoming one big coffin symbolizing
the exclusion of this family from the conventional social order.
In The Virgin Suicides there is hardly any direct acknow-
ledgment of the sociological impact of the decade. The spatial
location is never described except for several slips that might
well go unnoticed by the reader. The fact that the novel never
deals with political matters overtly can be the result of many
reasons: because the story sticks to the teenage focalizers
whose worries differ from these of the mature narrator, becau-
se it simply mimics the spirit of suburbia in which the subur-
ban ideal predominated, because of the narrators mythic
impulse, or because it reflects the fact the seventies was
(wrongly) considered nothing more than a breathing space
between the revolutionary sixties and the conservative eigh-
ties.17 At first glance, the omissions of place and time confer a
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argues that literature gives trauma a plausible nuance. I argue that magical
realism does the same because trauma narratives often resist realistic repre-
sentation of their central trauma.
25 Shostak, A story we could live with: Narrative Voice, the Reader
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Foreign Policy in the Cold War and After (Baltimore and London: Johns
Hopkins U. P., 1995), p. 158.
27 Jurca, White Diaspora. The Suburb and the Twentieth-Century
American Novel, cit., p. 11. The journalist Nicholas Lemann also makes
some remarks on the emergence of a self-pitying strain in the middle class
which was according to him yet another sixties spillover. In his article,
How the Seventies Changed America published in American Heritage in
1991, he maintains that the discourse of the blacks, who were the ones to be
really oppressed, was adopted by other minorities: college students, femi-
nists, Native Americans, Chicanos, urban blue-collar white ethnics, and
finally, suburban homeowners. As it can be inferred, not just the suburban
home was under the consideration of feeling self-pity towards itself but the
whole middle class.
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for the first few seconds the Lisbon girls were only a
patch of glare like a congregation of angels. Then,
however, our eyes got used to the light and informed
us of something we had never realized: the Lisbon
girls were all different people. Instead of five replicas
with the same blond hair and puffy cheeks we saw
that they were distinct beings, their personalities
beginning to transform their faces and reroute their
expressions.30
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31 Ibidem, p. 49.
32 Ibidem, pp. 118, 177.
33 Geoffrey H. Hartman, On Traumatic Knowledge and Literary
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The barely noticeable irony can detach the narrator from the
meaningless community they used to live in as boys but the
liminality of this ironyone cannot be sure if it is intended or
if the narrator complies with the meaningless suburban deci-
sionsgives place to uncertainty and undecidability. The
excess of liminal trauma narratives is to be found not only in
the repetitiveness and extreme circularity of the novel, but also
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EMANUELA JOSSA
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2 Ibidem, p. 35.
3 En italiano fue publicada en el ao 2011 por La Nuova Frontiera, tra-
duccin de Chiara Muzzi.
4 Como es sabido, Bellatin naci sin el brazo derecho y utiliza distintos
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7 Miguel ngel Huamn, Narrar la crisis o crisis del narrar? Una lec-
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14 Judith Butler, Cuerpos que importan: sobre los lmites materiales y dis-
cursivos del sexo (Buenos Aires: Paids, 2006).Ver tambin Judith Butler,
El gnero en disputa. El feminismo y la subversin de la identidad (Mxico:
Paids, 2001).
15 Butler, Cuerpos que importan, cit., p. 20.
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cin anterior. Bellatin no solamente corrige el estilo, sino cambia tuve que
vrmela con mujeres que pedan alojamiento (34), frase que emplea un
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19
Ibidem.
20
Ver tambin la interesante interpretacin de Javier Guerrero de este
sueo. Guerrero, El experimento Mario Bellatin. Cuerpo enfermo y ano-
mala en el trnsito material del sexo, cit., p. 71.
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23 Ibidem, p. 491.
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P., 2000). Las reflexiones acerca del sentido de la comunidad derivan de este
texto y de Roberto Esposito, Communitas. Origine e destino della comunit
(Torino: Einaudi, 2006).
25 Ibidem.
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Introduction.
Universit degli Studi Roma Tre (Italy), funded by the Union Europea
(Erasmus Programme). I want to show my gratitude to Professor Camilla
Cattarulla.
2 Premises exposed in Isser Wolfgan, The Implied Reader: Patterns of
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the construction of the truth in this context has been analysed by Beatriz
Sarlo, Tiempo pasado. Cultura de la memoria y giro subjetivo. Una discusin
(Buenos Aires: Siglo XXI, 2007).
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9 The category of authority has been revised from the premises exposed
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10 Family wage has been a major fact in social history in general and in
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fragility. When the writer thinks back on his fathers story and
deepens into the consequent psychophysical pain,12 he exam-
ines with genuine mastery the dark side of an imposed reality.
Herewith, he does not only washes his own private dirty laun-
dry but the whole social public linen, concurrently expressing
the impossibility of a complete narrative exteriorization, push-
ing us repeatedly towards the blurring boundaries between
fact and fiction; for when the narrative separates from the
body, the experience separates from its sense.
The text, brief in its composition but solemn in its con-
tent, follows a circular path, in a superimposed accumulation
of independent fragments, through the second half of the
twentieth century. Though it irrupts with the migratory imagi-
nary of an Italo-Spanish family saga in Argentina during the
first quarter of the century and the memory contrast of a child
who is fascinated with the pictures in Life magazine. In a con-
fessional tone, far from the intimate diary though, the book is
narrated from a noticeable distance, which enables to trace a
frontier between fiction and autobiography, permanently tres-
passed by the protagonist. Short tales encircle it, meeting at
different times through a story told in the first person, as well
as in the second in a mirror game with the first and in the
third, adopting a considerable testimonial distancing.
The good grief is an exhibitionist fable that with a sharp
and emphatic style folds back over a denunciation. Within it,
social injustices comes into contact with the circumstances sur-
rounding the grief and despondency caused by poverty and
disease in a deprived status family, alluding to the social class
fracture as a referential marker of personal identity. At this
juncture it is worth mentioning how the representation of the
body stands out as the raw material of the story. The work
transmits the strong presence of the corporeal nature of
12It is worth mentioning that the father figure will significantly reap-
pear in Argentine recent memory narrative.
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for Michel Foucault, since the 17th-18th centuries the government used the
exertion of power through certain techniques that build the power-knowl-
edge territories. From a subject understood as a trainable body and a popu-
lation understood as machine for production, he used the concepts of anato-
mo-politics and biopolitics. These juridical subjects would be conceived as
bodies and populations, while the power exert its action against the body
with the aim of achieving its normalisation. This way, the body became a
product of the power itself. See Michel Foucault, Saber y Verdad , ed. and
trans. by Julia Varela y Fernando lvarez-Ura (Madrid: La Piqueta, 1985).
An interconnection from cultural studies with a foucaultian perspective, to
be found in the forthcoming publication of the article by the author,
Esmeralda Broulln, Crimen e impunidad. La vigilancia del poder y la
administracin del castigo: El crimen del Padre Amaro, Confluencias, Vol.
31, Number 2 (2016):128-37.
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together with the roof over the head make up the heritage of
this family of Italo-Spanish immigrants who arrived in the
Argentine at the beginning of the 20th century, lead by the
Galician head of the matriarch, sequencing a tumultuous polit-
ical period that swings from adaptation to submission under a
halo of anarchism:
Casi todas las casas del barrio eran iguales () La
mayora, habitadas por inmigrantes italianos y espa-
oles que, en los aos veinte, con unas pocas chapas
y la madera de las cajas de embalaje de automvil
importado, haban levantado primero una barraca.
Comprados, juntados por ah cuando no robados, los
ladrillos vinieron despus. As haban edificado ()
Ms tarde, iban adosando piezas a la estructura pri-
mitiva.
La casa en la que vivas no era distinta. Tena un jar-
dn y una huerta a la entrada (), la abuela haba
hecho levantar dos cuartitos de madera y chapa, que
alquilaba a unos mendocinos recin casados. Detrs
estaba el gallinero.
() Pap era sastre. Le disgustaba su oficio. Quera
ser escritor. Haba estudiado periodismo (), pap
participaba de la oposicin al peronismo. Con las
ideas no se come, le deca la abuela. Segn la abuela,
pap era el culpable de nuestras estrecheces. Ser la
duea de la casa le confera prerrogativas. Usted va a
terminar comiese anarquista, le pronosticaba amena-
zadora. Preso de por vida en Tierra de Fuego (18-19).
16 For a further analysis on the study of the Latin American family insti-
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archy would be the political regime where power lies upon the hands of
women, without knowledge of a society living under this principle before.
For an approach on communities which domestic groups are headed by
women, see Judith K. Brown, Iroquois Women: An Ethnohistoric Note, in
Rayna R. Reiter (ed.) Toward an Anthropology of Women (New York:
Monthly Review Press, 1975): 235-251; Adam Kuper, Lineage theory: a crit-
ical retrospect, Annual Review of Anthropology 11 (1985): 71-95; Michell
Rosaldo and Louise Lamphere, Women, Culture and Society (Standford:
Standford University Press,1974); Raymond Th.The matrifocal family, in,
ed. Jack Goody The Character of Kinship, (Cambridge: Cambridge UP,
1973): 121-44.
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FCE, 2001).
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her house that had been raided. There she kept the ashes of
her lost child (Niqui/Govinda). Both stories interlace while el
Francs shares part of the protagonism as interlocutor:
Hace un rato, mientras G., se concentraba en la
muerte de su abuela, pensaba que deba existir una
conexin misteriosa entre lo que escriba y el encuen-
tro con Ins, el viaje, las cenizas () Si lograba cerrar
ese relato, pens, terminaba una etapa. Pero ahora se
daba cuenta de que la vida no ofrece finales y princi-
pios delimitados como una narracin. La vida es un
continuo () Y son raras las veces en que uno consi-
gue establecer finales y principios que, por lo general,
no son otra cosa que la prolongacin oculta de una
experiencia pasada que se resiste a morir (88).
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The end of the novel brings back the central pot of the text:
the family as reference of the construction of the nation the
suffer of their members due to sickness- isolation and sorrow
that corner their victims- and ultimately an expected death and
its weight, never concluded nor solved when illness comes to
an end. The protagonist (G.) interweaves the family detach-
ment starting from a physical and symbolic point: a personal
story, the bus station landscape in the midst of a freezing night,
the heritage of Judeo-Christian beliefs in suffering people
And he deepens into the family references, into its origins in
order to be able to write about himself. But he does not do it
motivated by the fact of transcending oblivion but to re-cog-
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148
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149
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150
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151
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159
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COLLABORATORI
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SUMMARIES
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RESMENES
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RESUMOS
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