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The memory of peoples is built upon the clash between different discourses and sectors which strive to occupy a privileged place in this collective symbolic space. Other discourses work deconstructing those hegemonic narratives, reporting what they have left aside and giving voice to those who have been systematically silenced. This work tries to account for the way in which La lengua del malón, by Guillermo Saccomanno, builds itself as a counter-discourse, which allows to discern the position of some social sectors in reference to discourses and devices that determine what is adequate, moral, vulgar, tasteful, normal. To the same extent, this paper attempts to exhibit those sectors's complicity in keeping hierarchies, categories and institutions, which are conservative, oppressive and repressive, together with their alliances with those who interrupted democratic and popular processes. The novel is based on the coup d'etat which overthrew Perón's government in 1955, and it hints the continuing relationship with other tragic moments of the Argentinian history: the extermination of native peoples and the dictatorship that started in 1976. La lengua del malón is built as a narrative of abjection suffered by those who fail to answer those hegemonic parameters supporting not only the official history, but also the society. [ABSTRACT FROM AUTHOR]

This paper studies Victor Juan Guillot's detective stories, hitherto, completely ignored by the literary criticism and the historiography of the detective genre in Argentina. We assert that in these stories it is possible to see the transition from a certain detective narrative -which was clearly predominant from late 1870s to 1930s, having melodramatic features and close links with the political and social reality-into a new kind of tale much closer to the English detective story of the Golden Age, and further from empirical national life. In Argentina, this new type of detective tale will be developed vigorously during the 1930s and the 1940s. Thus, we attempt to show that the detective stories included in Historias sin importancia (1920) and El alma en el pozo (1925) are in the same line with the early tradition of the genre in Argentina, while the stories included in Terror: cuentos de crimen y misterio (circa 1935) have mostly the same features as those of the 1930s. We also seek to put on view how Guillot's conception of the detective story in 1925 anticipated Jorge Luis Borges's conception of the genre in the 30s. [ABSTRACT FROM AUTHOR]