The literature of Central American-Americans is a diverse and emerging corpus of writing that testifies to the different phases and evolutions of warfare, locally and globally. This literature includes narratives about exiles and immigrants who left war zones, interdisciplinary poetry against U.S. militarized violence in different geographies, narratives about global wars and their aftermath, detective writings, and soldiers’ memoirs. War and violence have taken new shapes, and the inhumanity of war is expanded beyond the battlefield. A survey of the most representative Central American-American writers depicting these catastrophic events provides insights into the trauma of war individually and collectively and denounces its violence and causes. There are writers that propose a process of healing this history of violence and engagement with new struggles. Some of the authors in this survey make rational arguments, refuting Western-centric perspectives that justify war as a necessary and logical event. Other writers present a strong pacifist agenda as the result of having participated directly in this traumatic experience. Writers often reflect on ameliorative justice and the exile experience. Through history, they change their representation of war in Central America; later authors connect these catastrophes with violence in the United States and elsewhere. War becomes imbricated with gender violence, policing, urban policing, racism, and class discrimination. Immigrants become the main characters in many contemporary writings, and the search for identity, connected with the past of war, is common in the poetic discourse of the younger generation.
Carolina Alzate and Betty Osorio
As in the case of other Western literary traditions, women’s relationship to writing in Spanish America has been problematic since early modernity. From colonial times onward, women’s emergence on the writing scene as authors went hand in hand with a redescription of the feminine that allowed them to become producers of written culture and to find a respectable entry into the public sphere from which they were excluded. Spanish-American feminine tradition from the 16th through the 20th centuries may be read as a gradual, heterogeneous, and difficult but nonetheless sustained and very productive occupation of new ground. Legitimation of their voice passed through the reading of the male tradition, the establishment of a female tradition, and the redescription of a subjectivity that would make it possible for them to take up the pen and eventually to imagine themselves being read by others. Establishing the contents of these women’s libraries, reconstructed through their testimonies of reading both in a colonial society in which illiteracy was very high—especially among women—and in 19th-century society in general, and in which access to the written word remained restricted, are key elements for understanding their writing. Most female authorship during the colonial period took the form of religious writing and was dependent upon the male figure of the confessor, as was the possibility of publishing their life stories and writings. But women authors were not only nuns, and it is also possible to find examples of women who left their mark on writing due to special circumstances (travelers and so-called witches). Male tutelage tended to remain in force throughout the 19th century, and newspapers would provide vitally important new spaces for publication in the young independent republics. Women’s relationship to newspapers, both as readers and authors, was essential to this writing tradition, and it would allow them to build reading and editorial networks—both within the Americas and across the Atlantic, a context that must be understood to properly understand their writing projects. Women writers in the early 20th century would travel, not without difficulty, along the roads paved by the pioneers. The year 1959, a provisional closing date marked by the Cuban Revolution, helps position 20th-century literature as one of the forms of the crisis of modernity: that which reveals and celebrates heterogeneity and could no longer openly continue excluding women from the authorized spaces for the production of meaning.