BiblioVault - Books about Uruguay

Carnival Theater

Uruguay’s Popular Performers and National Culture

Gustavo Remedi

University of Minnesota Press, 2004

Offers a new model for interpreting popular national culture through Uruguay's carnival theater troupes. The murgas are troupes of performers, musicians, writers, and creators who, during Montevideo's Carnival, perform on the tablados, temporary stages built in the neighborhoods of Uruguay's capital city each year. Throughout the period of Uruguay's subjection to a brutal dictatorship and in the following era of "democratization," the murgas, envisioned originally as popular theater, were transformed into a symbol of social resistance, celebrated by many and perceived by others as menacing and subversive. Focusing on the cultural practices of the lower classes and more specifically on the processes and productions of the murgas, Gustavo Remedi's Carnival Theater is a deeply thoughtful consideration of Uruguayan society's identity crisis and subsequent redefinition in the wake of the authoritarian-bureaucratic-technocratic regimes of the 1970s. A revealing work of cultural criticism, the book proposes a new set of criteria for the interpretation and critique of national culture. Gustavo Remedi is associate professor in the Department of Modern Languages and Literatures, Trinity College. Amy Ferlazzo teaches at Meredith College in Raleigh, North Carolina.

[more]

The Decapitated Chicken and Other Stories

By Horacio Quiroga

University of Texas Press, 1976

Tales of horror, madness, and death, tales of fantasy and morality: these are the works of South American master storyteller Horacio Quiroga. Author of some 200 pieces of fiction that have been compared to the works of Poe, Kipling, and Jack London, Quiroga experienced a life that surpassed in morbidity and horror many of the inventions of his fevered mind. As a young man, he suffered his father's accidental death and the suicide of his beloved stepfather. As a teenager, he shot and accidentally killed one of his closest friends. Seemingly cursed in love, he lost his first wife to suicide by poison. In the end, Quiroga himself downed cyanide to end his own life when he learned he was suffering from an incurable cancer.

In life Quiroga was obsessed with death, a legacy of the violence he had experienced. His stories are infused with death, too, but they span a wide range of short fiction genres: jungle tale, Gothic horror story, morality tale, psychological study. Many of his stories are set in the steaming jungle of the Misiones district of northern Argentina, where he spent much of his life, but his tales possess a universality that elevates them far above the work of a regional writer.

The first representative collection of his work in English, The Decapitated Chicken and Other Stories provides a valuable overview of the scope of Quiroga's fiction and the versatility and skill that have made him a classic Latin American writer.

[more]

Dissensual Subjects

Memory, Human Rights, and Postdictatorship in Argentina, Brazil, and Uruguay

Andrew C. Rajca

Northwestern University Press, 2018

In Dissensual Subjects, Andrew C. Rajca combines cultural studies and critical theory to explore how the aftereffects of dictatorship have been used to formulate dominant notions of human rights in the present. In so doing, he critiques the exclusionary nature of these processes and highlights who and what count (and do not count) as subjects of human rights as a result.

Through an engaging exploration of the concept of “never again” (nunca más/nunca mais) and close analysis of photography exhibits, audiovisual installations, and other art forms in spaces of cultural memory, the book explores how aesthetic interventions can suggest alternative ways of framing human rights subjectivity beyond the rhetoric of liberal humanitarianism. The book visits sites of memory, two of which functioned as detention and torture centers during dictatorships, to highlight the tensions between the testimonial tenor of permanent exhibits and the aesthetic interventions of temporary installations there. Rajca thus introduces perspectives that both undo common understandings of authoritarian violence and its effects as well as reconfigure who or what are made visible as subjects of memory and human rights in postdictatorship countries.

Dissensual Subjects offers much to those concerned with numerous interlocking fields: memory, human rights, political subjectivity, aesthetics, cultural studies, visual culture, Southern Cone studies, postdictatorship studies, and sites of memory.

[more]

The Exiles and Other Stories

By Horacio Quiroga

University of Texas Press, 1987

Tales of risk and danger, suffering, disease, horror, and death. Tales, also, of courage and dignity, hard work, and human endurance in the face of hostile nature and the frequent brutality of men. And tales flavored with piquant touches of humor and bemused irony.

These are the stories of the Uruguayan writer Horacio Quiroga, here presented in an important compilation of thirteen of his most compelling tales, sensitively selected and translated by J. David Danielson. Author of some two hundred pieces of fiction, often compared to the works of Kipling, Jack London, and Edgar Allan Poe, Quiroga set many of his stories in the territory of Misiones in northeastern Argentina, the subtropical jungle region where he spent much of his life.

Included here are stories from Los desterrados (1926) often said to be his best book, as well as others from Cuentos de amor de locura y de muerte (1917), Anaconda (1921), and El Desierto (1924). The publication of this selection marks the first appearance in English of all but two of the thirteen stories.

Quiroga here presents a wide range of characters: parents and children, servant girls and prostitutes, landowners and lumber barons, foremen and laborers, natives and immigrants, in stories pervaded by a vision of life that is elemental, incisive, and essentially tragic. The Exiles and Other Stories shows the versatility and skill that have made him a classic Spanish American writer. It complements and illumines The Decapitated Chicken and Other Stories, selected and translated by Margaret Sayers Peden, also published by the University of Texas Press.

[more]

Fearful Vassals

Urban Elite Loyalty in the Viceroyalty of Río de la Plata, 1776-1810

Peter Blanchard

University of Pittsburgh Press, 2020

Following the creation of the viceroyalty of Río de la Plata in 1776, the elites of Buenos Aires, Córdoba, and Montevideo turned time and again to the Spanish crown for intercession, mediation, and support to maintain their privileged position during the tumultuous years before the May Revolution of 1810. Their loyalty was in part a result of the social status, political opportunities, and economic benefits that produced their privileged style of life. But of greater importance were the various internal and external factors that threatened their privileges, including inter-group rivalries, the presence of subversive ideas linked to the French Revolution, growing numbers of black slaves who engaged in various forms of resistance, indigenous groups who blocked the exploitation of the viceroyalty’s resources, Portuguese interlopers, and British imperial ambitions that culminated with the invasions of the viceroyalty in 1806 and 1807. To retain their privileges and their tenuous hold over the region, the viceroyalty’s urban elites looked to Spain for help, ensuring their continuing loyalty to the Spanish crown in increasingly troubling times.

[more]

Forgotten Conquests

Rereading New World History from the Margins

Gustavo Verdesio

Temple University Press, 2001

Borrowing from the old adage, we might say that to the victor belongs the history. One of the privileges gained in colonizing the New World was the power to tell the definitive stories of the struggle. The heroic texts depicting the discovery of territories, early encounters with indigenous peoples, and the ultimate subjection of land and cultures to European nation-states all but erase the vanquished. In Forgotten Conquests, Gustavo Verdesio argues that these master narratives represent only one of many possible histories and suggests a way of reading them in order to discover the colonial subjects who did not produce documents.

Verdesio read the key texts relating to the struggles for possession of River Plate's northern shore -- present-day Uruguay. He probes them for traces of conflicts in meaning and the agency of Amerindians, gauchos, Africans, and women -- the subjected peoples that the texts try to silence. The narrators, speaking for their culture, assume the role of knowing subject, repressing all other voices, epistemologies, and acts of resistance. Verdesio's tasks are to listen for those that the Europeans represented as an unintelligible Other, to draw them into the foreground, and to decolonize their histories.

By unpacking these texts, Verdesio shows that from the European point of view, the colonial encounter draws the New World into historical time and ushers in a new concept of knowledge. For the first time, the historian's role is to discover, to interpret eyewitness testimonies and first-hand experience, to write 'a new history of admirable things.' Even in this reconstruction of historical truth, Old World ideology drives the narratives, whose chief purpose is to justify conquest. Forgotten Conquests lays bare the discursive strategies that generated the founding texts of Latin American history and engulfed its subjected peoples in silence for 500 years.

[more]

Intermittences

Memory, Justice, and the Poetics of the Visible in Uruguay

Ana Forcinito

University of Pittsburgh Press, 2018

The construction of memory entails a battle not only between memory and forgetting but also between different memories. There are multiple constructions of memory, and in the dispute between them, some become hegemonic, while others remain in the margins. Ana Forcinito explores the intermittences of transitional justice and memory in post-dictatorship Uruguay. The processes of building memory and transitional justice are repetitive but inconstant. They are contested by both internal and external forces and shaped by tensions between oblivion and silence. Forcinito explores models of reconciliation to present an alternative narrative of the past and to expose the blind spots of memory.

[more]

A Miracle, A Universe

Settling Accounts with Torturers

Lawrence Weschler

University of Chicago Press, 1998

During the past fifteen years, one of the most vexing issues facing fledgling transitional democracies around the world—from South Africa to Eastern Europe, from Cambodia to Bosnia—has been what to do about the still-toxic security apparatuses left over from the previous regime. In this now-classic and profoundly influential study, the New Yorker's Lawrence Weschler probes these dilemmas across two gripping narratives (set in Brazil and Uruguay, among the first places to face such concerns), true-life thrillers in which torture victims, faced with the paralysis of the new regime, themselves band together to settle accounts with their former tormentors.

"Disturbing and often enthralling."—New York Times Book Review

"Extraordinarily moving. . . . Weschler writes brilliantly."—Newsday

"Implausible, intricate and dazzling."—Times Literary Supplement

"As Weschler's interviewees told their tales, I paced agitatedly, choked back tears. . . . Weschler narrates these two episodes with skill and tact. . . . An inspiring book."—George Scialabba, Los Angeles Weekly

[more]

Purity Is a Myth

The Materiality of Concrete Art from Argentina, Brazil, and Uruguay

Zanna Gilbert

J. Paul Getty Trust, The, 2021

Presenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Latin America.

Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America.

Drawing on research conducted by Getty and international partners, the essays in this volume address a variety of topics, including the general history, emergence, and reception of Concrete art; processes and color; scientific analysis of works; illustrated chronologies of the paint industry in Brazil and Argentina; and Concrete design on paper. An innovative technical study of the Concrete art movement in Latin America, this volume will be indispensable to scholars, practitioners, and students of Latin American art.

[more]

Purple Land

W. H. Hudson; With a new introduction by Ilan Stavans; Illustrated by Keith Henderson

University of Wisconsin Press, 2002

First published in 1885, The Purple Land was the first novel of William Henry Hudson, author of Green Mansions. The Anglo-Argentine naturalist distinguished himself both as one of the finest craftsmen of prose in English literature and as a thinker on ecological matters far ahead of his time.
The Purple Land is the exuberant, often wryly comic, first-person account of a young Englishman’s imprudent adventures, set against a background of political strife in nineteenth-century Uruguay. Eloping with an Argentine girl, young Richard Lamb makes an implacable enemy of his teenage bride’s father. Leaving her behind, he goes ignorantly forth into the interior of the country to seek his fortune and is eventually imprisoned and persecuted by the vengeful father. His narrative closes as he sets off on still another impetuous quest.
This facsimile of the 1904 Three Sirens Press edition includes striking woodcuts by Keith Henderson illustrating the characters in the novel and the fauna of Uruguay. Ilan Stavans’s introduction offers an opportunity to revisit The Purple Land as a "road novel" in which an outsider offers reflections on nationality and diasporic identity.

[more]

Repression, Exile, and Democracy

Uruguayan Culture

Saul Sosnowski and Louise B. Popkin, eds.

Duke University Press, 1992

Repression, Exile, and Democracy, translated from the Spanish, is the first work to examine the impact of dictatorship on Uruguyan culture. Some of Uruguay's best-known poets, writers of fiction, playwrights, literary critics and social scientists participate in this multidisciplinary study, analyzing how varying cultural expressions have been affected by conditions of censorship, exile and "insilio" (internal exile), torture, and death.
The first section provides a context for the volume, with its analyses of the historical, political, and social aspects of the Uruguayan experience. The following chapters explore various aspects of cultural production, including personal experiences of exile and imprisonment, popular music, censorship, literary criticism, return from exile, and the role that culture plays in redemocratization.
This book's appeal extends well beyond the study of Uruguay to scholars and students of the history and culture of other Latin American nations, as well as to fields of comparative literature and politics in general.

Contributors. Hugo Achugar, Alvarro Barros-Lémez, Lisa Block de Behar, Amanda Berenguer, Hiber Conteris, José Pedro Díaz, Eduardo Galeano, Edy Kaufman, Leo Masliah, Carina Perelli, Teresa Porzecanski, Juan Rial, Mauricio Rosencof, Jorge Ruffinelli, Saúl Sosonowski, Martin Weinstein, Ruben Yáñez

[more]

Rubbish Belongs to the Poor

Hygienic Enclosure and the Waste Commons

Patrick O’Hare

Pluto Press, 2021

Rubbish. Waste. Trash. Whatever term you choose to describe the things we throw away, the connotations are the same; of something dirty, useless and incontrovertibly 'bad'. But does such a dismissive rendering mask a more nuanced reality? In Rubbish Belongs to the Poor, Patrick O'Hare journeys to the heart of Uruguay's waste disposal system in order to reconceptualize rubbish as a 21st century commons, at risk of enclosure. On a giant landfill site outside the capital Montevideo we meet the book's central protagonists, the 'classifiers': waste-pickers who recover and recycle materials in and around its fenced but porous perimeter. Here the struggle of classifiers against the enclosure of the landfill, justified on the grounds of hygiene, is brought into dialogue with other historical and contemporary enclosures - from urban privatizations to rural evictions - to shed light on the nature of contemporary forms of capitalist dispossession. Supplementing this rich ethnography with the author's own insights from dumpster diving in the UK, the book analyzes capitalism's relations with its material surpluses and what these tell us about its expansionary logics, limits and liminal spaces. Rubbish Belongs to the Poor ultimately proposes a fundamental rethinking of the waste-capitalism nexus.

[more]