This article examines the rewriting of childhood in Fernando Vallejo’s work through a comparison between Los días azules (1985) and ¡Llegaron! (2015). Against critical claims that accuse the author of self-repetition, it argues that the later novel does not replicate the former but rewrites it from the perspective of old age, reversing its formative impulse. The idyllic childhood of Los días azules becomes, in ¡Llegaron!, a corrosive experience shaped by death, and destruction. Drawing on Deleuze’s concept of repetition as the production of difference rather than redundancy, the article shows how Vallejo transforms memory into a device for self-revision. Rewriting functions both as an ethical and aesthetic gesture: to remember is to rewrite, and to rewrite is to dismantle. In this sense, ¡Llegaron! emerges as a lucid act of negation, turning its return to childhood into the undoing of its own narrative origin.

The reflection paper proposes the definition, configuration, and specific characteristics of Essayistic Bicigraphies, drawing on the writing gesture of Michel de Montaigne and other references linked not only to the essay tradition but also to written meditation based on the bicycle, which is legible in different manifestations of Argumentative-Literary Genres. The article attempts to establish a partial cartography of Bicigraphies as expressive channels of life by bicycle and, specifically, of the most visible, but not therefore unequivocal, Essayistic Bicigraphies within the modern and contemporary literary repertoire. The aim is to encourage applied research into this class of texts and generate a dialogical space around cycle-studies in academic, cultural, and social fields.

Editorial note

In this article we start with a question: how do the artistic and literary pieces present in a border of Argentina -the “western desert” of the Buenos Aires province- put together a body of archive with effects on the territory. How do we begin to articulate pieces dissociated and, therefore, waiting to be unearthed, exhumed as a living trace, preserved, exhibited and read from the institutions as a body of archive in potential. To begin to answer this question, we look at and connect, with the help of ecocriticism and the power of the archive, the works of two women artists: Mercedes Resch (Cura Malal, Pdo. de Coronel Suárez) And Raquel “Kuki” Giubileo (General Pinto).

En la extensa obra del destacado narrador cubano Onelio Jorge Cardoso (1914-1986) destacan sus múltiples abordajes del problema de los animales. Este artículo tiene el objetivo de analizar el cuento "Caballo", escrito por Cardoso en 1970 y publicado en 1974 como parte del volumen El hilo y la cuerda para proponer que esta singular narración —que resalta por su intensidad y sentido— es una puerta extraordinaria a lo que podríamos llamar el universo animalhombre. Lo anterior, pone el interés de investigación en las relaciones que surgen al interior de ese devenir o alianza, entre el hombre y su caballo. El análisis se sostiene desde claves conceptuales de Giorgio Agamben, Jacques Derrida, Gilles Deleuze y Félix Guattari.

This article is centered on one of the forms of translation of the Aeneid in Latin America. Egidio Poblete's version (published in 1938) was in dialogue with other translators of the twentieth century, by reinforcing both the humanist and poetic translations. Through a historical-philological analysis of the corrections from Latin to Spanish in the unpublished editorial manuscript, it was proven that Poblete applied a consistent editing methodology that prioritized semantic equivalence, along with the aesthetic interpretation of the Virgilian text. The work first studies how the writer made his intentions explicit in the paratexts that accompanied the book in its publication context. This information was then verified in his analysis of the musicality of the Latin verses, and in corrections made to the typewritten manuscript.

In this article, we reflect on the career of José Luis Mangieri (1924–2008) in the field of publishing. Starting from the self-image that the editor often offered, related to tenement culture and anarchist ideas, we propose to analyze the impact that the acquisition of a plebeian and self-taught culture may have had on a series of choices made by Mangieri at different times in his career, from the composition of his publishing house catalog or the position he adopted within the literary field, to his relationship with state and private institutions. We will focus specifically on the two most significant publishing projects: La Rosa Blindada (1962–1976) and Libros de Tierra Firme (1977–2008), in order to delineate the transformations brought about by the 1976 civil-military dictatorship in the field of culture.

This article develops an analysis of the autobiographical chronicle “Yo fui una freak (pero me operé)”, by Gabriela Wiener, based on studies on literary journalism and the philosophy of the body in the age of technoscience. To this end, the text is contextualized in terms of the characteristic elements of the chronicle, the gonzo style adopted by the author, and the autobiographical turn that has taken place in contemporary literary journalism. With this, it is identified that the narrative subjectivity present in her work is part of a trend that takes resources from autobiographical writings to enunciate freak issues, whose representation is transgressive in relation to traditional journalism. Likewise, the notion of the «customized body» is proposed to examine the way in which Wiener sheds light on the bodily dilemmas of our time and lets us see the relationship between body and chronicle.

Este trabajo propone un análisis del cuento “Con los ojos abiertos” de la autora mexicana Amparo Dávila, a partir de los "cautiverios" propuestos en Los cautiverios de las mujeres de la antropóloga Marcela Lagarde de los Ríos (2016). La investigación se centra en la figura protagónica, Mariana, misma que Dávila presenta en un contexto adverso marcado por irrupciones fantásticas. Se buscará también vislumbrar la forma en que lo fantástico, encarnado en un ente sobrenatural que vulnera a la protagonista, se vincula con la conceptualización de otredad en lo fantástico tomado de la autora Rosemary Jackson (2009), en Fantasy the literature of subversion, misma que se despliega como una fuerza antagonista dentro de la trama, que a su vez se vuelve un elemento que articula la cautividad, aludiendo al modo fantástico como una estrategia para criticar y visibilizar las formas de cautiverios que afectan a las mujeres.