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This essay employs a literary analysis of Julia de Burgos's poetry to establish how she has been, borrowing from Dixa Ramírez's Colonial Phantoms (2018), misrepresented and "ghosted" in Western discourse and national archives as solely a Puerto Rican nationalist poet when she was an exile, too. Distinct from this misrepresentation, Burgos perceived herself as an exile. Part of the work of this essay is undoing the colonial ghosting of Julia de Burgos's legacy by remembering her as she was—an exile. Utilizing Edward Said's notion of an intellectual exile, I provide an examination of the nautical metaphors and avian imagery in Burgos's poetry collections as personal renderings of exilic status, and thus of an exilic writer. Denying Burgos's exilic status is to deny her the political significance of her poetry and her life. Everything she wrote and the way she lived was defined by the fact she could not reside or simply "be" in her homeland. [ABSTRACT FROM AUTHOR]

This article analyzes short stories "La vida real" (1893) by Carmela Eulate, "Sara la obrera" (1895) by Ana Roqué and "El cajero" (1916) by Luisa Capetillo. Based on the study of the context of production --basically the diagnosis of social crisis and the proposed solutions offered by different sectors-- we can see how these stories thematize the poverty of the popular sectors, the opportunities that education can offer and their relations with members of other social classes. While the stories by Eulate and Roqué express a commitment with the perpetuation of the social order, Capetillo's story celebrates its transgression. [ABSTRACT FROM AUTHOR]

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Working as principal investigator and head of the translation team for El proyecto de la literatura puertorriqueña / the Puerto Rican Literature Project (PRLP)—a free, bilingual, user-friendly, and open access digital portal that anyone can use to learn about and teach Puerto Rican poetry—has provided the author with insight about the colonial conditions that structure translation as word-making practice, survival strategy, and decolonial methodology. In collaborating with Puerto Rican writers, translators, investigators, and scholars and sustaining a dialogue with a long history of personal and collective archival work, the author has at times found, in collaboration with literary peers, that Puerto Ricans often act as self-translators, archivists, and historians, while navigating the conditional visibility and general invisibilization of their modes of speech, their literatures, and their lives. [ABSTRACT FROM AUTHOR]

This article analyzes the lesbian characters in Puerto Rican narrative and examines the strategies of visibility of sexual minorities. In the texts studied, lesbians are monstrous figures that reactivate topics of the gothic or science fiction tradition: vampires, zombies, serial killers or cyborgs. In so doing, they are at the crossroads of genres and gender, creating epistemic spaces with diffuse contours. These contributions to Puerto Rican lesbian literature thus participate in the revision of the national literary canon and the redefinition of its borders, through strategies of fragmentation, hybridization and literary zombification.

Copyright of Liminalities is the property of Liminalities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article outlines a reading of the novel Sexto sueño (2007), by the Puerto Rican writer Marta Aponte Alsina. This paper's objective is to analyze the way in which a unique space of enunciation is articulated through two performativities: one legal and another literary. It involves a journey that takes us through places like the U.S. and Puerto Rico, in which bodies in transit are crossed, not only by legal and biopolitical practices, but also by various instances of experimentalism. [ABSTRACT FROM AUTHOR]