En la introducción del libro Desde la noche y la niebla, Juana Doña, la autora, define su obra como una novela-testimonio, no autobiográfica y no feminista. Este relato sobre su vida como militante en las filas comunistas, la Guerra Civil española y su paso por prisión marcan el devenir narrativo que transgrede cualquier tabú impuesto por la ley del silencio y la censura franquista. La autora se basa en su memoria individual y su autoconciencia presente para recordar y decidir, respectivamente, qué hechos son relatados y cuáles son silenciados, cómo se reafirman acciones y se omiten informaciones, y cómo cambia el pronombre narrativo según su vida propia o la lucha colectiva. De este modo, el texto literario es utilizado como una catarsis individual, tanto para la autora como para los lectores. En este ensayo propongo analizar el proceso de redacción de la citada obra como un arma de promoción de la justicia, siguiendo la teoría de Kimberly Nance sobre las decisiones éticas que toma el autor de un testimonio, e infiriendo así un nuevo papel en el lector como agente activo atemporal en la lucha social.

The article analyzes the literary works of Arturo Barea that deal with the experiences of his two exiles: the French and the British. In The Clash Barea evokes his sad life in Paris: great poverty and uneasiness caused by the growing resentment of the French towards the Spanish exiles on the eve of World War II. In contrast, the British exile (shown in the stories Teresa and A Spaniard in Hertfordshire) appears as a mostly positive experience, as Barea achieves a certain economic and emotional stability. Nevertheless, there are moments (reflected in his letters and his novel The Broken Root) in which the author suffers from nostalgia for his homeland and remorse for having abandoned his children in Franco’s Spain.

La novela de Antonio Muñoz Molina En la noche de los tiempos se centra en un período de la vida de un arquitecto talentoso y exitoso que vive en Madrid en el período previo a la Guerra Civil española. La historia del personaje principal es solo un pretexto para mostrar el agitado ambiente de la capital y discutir los factores que llevaron al estallido del conflicto armado. Sin embargo, la novela presenta la política y la guerra como un dominio puramente masculino. El propósito del artículo es rastrear voces femeninas ocultas en la obra y analizarlas utilizando los planteamientos teóricos de la aracnología.

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Writing about memory involves balancing on the limits of the symbolizable and the unspeakable of trauma – individual and social – putting together puzzles in which some of the pieces do not fit and others have been lost. The aforementioned novels, both within the imaginary of disenchanted impotence in the face of the reconstructive faculty of memory in personalities devastated by state violence, share traits that connect them: both confront the difficulties of a pathological narrative by posing it from a delirious and/or dislocated discursive inquiry in which the authors sustain the literary possibility of anamnesis. The aim of this article is to explore the fragmentary, fetishizing construction of the paradoxes of memory in the aesthetic constitution of both novels as the only possible support in front of the irreparable damage produced by social subjugation. Through stylistic traits, the reconstructive, salvific viability of traumatic memory is renewed, and at the same time put into crisis.

In Entrada libre (1987), Carlos Monsiváis, ruminates about the importance of civil resistance in Mexico after decades of political instability, corruption, and violence. The cruel actions of the ‘dirty war’ left an unstable democratic system and an absent-minded population, which was still trying to understand the violent repression against left-wing groups. Under these conditions, Monsiváis questions the role of civil society in the production of mechanisms of resistance and reconciliation against a large history of abusive treatments and misuses that generated crisis in the country. This essay rethinks the representation of memory and history in the chronicles of Carlos Monsiváis. This project analyzes how the depiction of an the everyday life becomes an alternative method of expression for the a society in resistance, as well as a reevaluation of the
meaning behind “historia nacional” and memory as the foundation of the perspective of time in Mexican society.

The aim of the present study is to examine Maria Moreno’s book Oración. Carta a Vicki y otras elegías (2018). It is a work of difficult generic definition that narrates the years of the Argentine dictatorship (1976 -1983) through the death of Victoria Walsh and the disappearance of his father Rodolfo Walsh. It belongs, in some way, to the broad and diversified narrative of ‘post memory’. Beyond the historical and political data, the author expands and focuses her reflection on the meaning of motherhood and fatherhood of activists in subversive groups, and the consequences of this condition in the dictatorship of the National Reorganization Process. The initial investigation, the link between a father and a daughter and the scene of their death, opens up new and old questions, such as aesthetic value, the search for truth and its representation, the place and the voice of women, mothers and daughters

In her article, Magdalena Zdrada-Cok analyses the representation of immigration in Lilia Hassaine’s 2021 novel Soleil amer. She is concerned with argumentative and persuasive narrative strategies, the reterritorialization of immigration literature, and references to the realistic model of the novel.