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Don’t give up, maan! ¡No te rindas! (2002), by Hazel Robinson Abrahams (1935), can be considered as a (re) foundational fiction. From a decolonial position, which makes visible an untold territory and history, this novel puts on the table the impossibility of a single and homogeneous Colombian nation, while breaking the national literary canon, especially since the treatment of Creole, and ends up rewriting this ultraperipheral region, breaking myths about the Raizal identity by putting the accent on the African traces on which it was founded. [ABSTRACT FROM AUTHOR]

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Although Carlos Arturo Truque (1927-1970) is still not well known, we cannot talk about Afro-Colombian, or Colombian literature, without mentioning his contribution. With an unfocused literary production in periodic publications, the 'chocoano' bets on the short story when this genre was not highly valued in his country. Vivan los compañeros collects all his short stories (25), where he approaches the excluded characters of society as well as the more 'shameful' episodes of Colombian history, from a language that distances itself from all academic art. His work, described at the time as 'dirty literature' and specifically located in Chocó and the port of Buenaventura, is not alien to any human injustice. Besides, the need for Truque to express the speech of his community does not prevent him from contemplating new narrative techniques coming from North America. Thus, he renews the Colombian short story from the formal level and its content. [ABSTRACT FROM AUTHOR]

For a variety of reasons, many Spaniards emigrated to Latin America in the twentieth century. In cultural terms, this transatlantic movement of people implied the creation of important literary dialogues and productions that enriched both shores. In this context, we offer a reflection on the work of the Canarian author, Mercedes Pinto (1883-1976), following her exile in Uruguay during the dictatorship of Primo de Rivera. We will analyze the impact his exile exercised on her literary production following Gaos's concept of "trasterramiento. "Further, taking Gonzalez Diaz's concept of the Canary Islander's "migraciones golondrinas" as a point of departure, we map out a reading of Pinto's work focusing on three key moments of her transatlantic crossing: the departure (expectations, perspectives, possibilities); the voyage itself and her subsequent wanderings and the experience of exile (how life becomes literature). Her years of exile in several Latin American countries constituted a long and dynamic journey that proved fruitful for her writing. We thus approach her work from a dual perspective- analyzing both the aesthetic experience itself along with the places that populate it. [ABSTRACT FROM AUTHOR]

Nothing less than a continent, with its lakes, forests and mountains, and a whole ocean separating them. As if we broke the steps of the slavery journey, from the Colombian Afro-Pacific coast will look forward the Equatorial Guinea, the only black African country whose official language is nowadays the Spanish, developing a whole literature in this language under emergency. We suggest comparing some texts of Colombian Afro-Pacific oral tradition (Leyendas y cuentos de la raza negra. Leyendas del alto y bajo Chocó, 1959) and of Equatorial Guinean (Cuentos populares de Guinea Ecuatorial, 2010) to find similarities and differences between the popular discourses of these two seemingly distant cultural communities. We will also analyse what are their strategies of resistance and of struggle for the construction of their risky identities, how to incorporate the Western tradition until it can be made as its own ... everything, to be told, even sometimes, contradictorily. And finally, we will raise the need for joining the peripheries, for claiming here and there, one to another, as the only way to overcome the shared marginal situation within the Hispanic letters. [ABSTRACT FROM AUTHOR]