This volume examines the blending of fact and fiction in a series of
cultural artefacts by post-dictatorship writers and artists in
Argentina, many of them children of disappeared or persecuted parents.
Jordana Blejmar argues that these works, which emerged after the turn of
the millennium, pay testament to a new cultural formation of memory
characterised by the use of autofiction and playful aesthetics. She
focuses on a range of practitioners, including Laura Alcoba, Lola Arias,
Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy,
Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards
each other's works across boundaries of genre and register as part of
the way they address the legacies of the 1976-1983 dictatorship.
Approaching these works not as second-hand or adoptive memories but as
memories in their own right, Blejmar invites us to recognise the
subversive power of self-figuration, play and humour when dealing with
trauma.