No es que el recurso resulte absolutamente desacertado, solo que debió trabajarse más a fondo para lograr transitar por la delgada línea que separa el subrayado del esquema, del enfoque que lo cuestiona con látigo o sorna. The flesh-hungry monsters later burst onto the scene in force just as Juan muses about the need for a distraction to deflect attention during a neighborhood meeting of the CDR (Committee for the Defense of the Revolution). (2004) and other recent works in this vein that have been read as expressions of fears about difference and immigration, these works counter xenophobic zombie narratives and ultimately advocate transnational rather than solely national or individual self-preservation as shared goals. Is the film, then, as some posters have suggested, little more than an extended version of “Chupi Chupi,” a recent reggaeton hit that was roundly criticized by Cuban government officials for its vulgarity and base commercialism?7 While it represents momentum in the direction of projects funded outside ICAIC, the state-run Cuban film industry, that have marketable appeal for both Cuban and non-Cuban audiences, it is neither an entirely commercial mode nor solely derivative of films made in other countries. Despite Lovecraft’s narrative insistence on the primitive, his Weird monsters could be read as figuring not so much the repression or recurrence of an ancient past, as the emergence of a new present “impregnat[ed] […] with a bleak, unthinkable novum” (. DeGraff took the precaution of keeping one eye shut, just, you know, in case things got Sodom and Gomorrah. Many of these narratives, she argues, “invoke the titillating figure of the zombie as representative of the Afro-Caribbean folk as bogeyman” (Paravisini-Gebert 37). la negrura : blackness, darkness "el capitan maldecia la negrura de la noche" el francotirador : sharpshooter (masculine) el encuentro : meeting, encounter; traffic accident; finding of someone or something . Shaun, on the other hand, agonizes over taking any non-habitual action at all. 7Ultimately, both Díaz and Brugués combine genre fiction conventions with Caribbean cultural references and gallows humor in a manner that provides ample food for thought on the necessity for coherent, deliberative action in the face of crises. It is worth noting, however, that where Ian Padrón’s realist drama. Díaz’s luckless narrator bemoans being “left behind” in the Dominican Republic when the borders were sealed because he had chosen to continue chasing women in Santo Domingo rather than join his mother in Miami. Sanchez and Guillen’s conclusions about the devaluation of human life and attitudes towards death are overly simplistic and, I would argue, play into stereotypes about disregard for others when in fact both Díaz and Brugués’ creative fictions suggest that survival is intimately connected to concern for others. However, I would argue, the contrast between the narrator’s privileged group of wealthy friends who are sheltered by their “Dome” subscriptions, and the vulnerable inhabitants of the relocation camps outside Port-au-Prince, effectively draws attention to the impact of social and economic inequality in this case on inhabitants of the same island. “Junot Diaz: Monstro” Fail Better 14 June 2012. Haiti’s contemporary levels of extreme deforestation and environmental degradation are a well-documented result of over a century of US resource extractivism and economic restructuring. DeGraff took the precaution of keeping one eye shut, just, you know, in case things got Sodom and Gomorrah. Racial Capitalocene. It was the joke of the year” (Díaz, Pg 1). In Díaz’s story and Brugués’ film, however, this kind of appropriation is both challenged and derided in large measure through references to earlier narratives. and K.O. The Other is normalized as no longer threatening or powerful in its own right, but as harnessable labor. En "La negrura del mar", los muchachos reciben una alarma medioambiental provocada por la aparición de manchas de hidrocarburos en el océ… Entdeckung, Namensgebung und Ursprung. Thinking in an Emergency. If Esther represents the legacy of Yemayá, the time-travelling protagonist Acilde is prophesied to become the earthly son of Olokún, who is described as more ancient than the sea itself, and a sea creature that walks backwards in time (144/105). פייסבוק מאפשר לאנשים לשתף והופך את העולם לפתוח ולמקושר יותר. Lovecraft: The Classic Horror Stories, Spaces and Fictions of the Weird and the Fantastic, Monsters of the Market: Zombies, Vampires and Global Capitalism, The Routledge Companion to Science Fiction, Caciques and Cemí Idols: The Web Spun by Taíno Rulers between Hispaniola and Puerto Rico, American Fair Trade: Proprietary Capitalism, Corporatism, and the ‘New Competition,’ 1890–940, From the Depths and Other Strange Tales of the Sea, Queer Globalizations: Citizenship and the Afterlife of Colonialism, Fueling Culture: 101 Words for Energy and Environment, Help us to further improve by taking part in this short 5 minute survey, De Kretser’s Retelling of a Ghost Love Story, Water Enclosure and World-Literature: New Perspectives on Hydro-Power and World-Ecology, Living Suspiciously: Contingent Belonging in British South Asian Theater, Dry Country, Wet City: A World-Ecological Reading of Drought in Thea Astley’s, https://aoghs.org/petroleum-in-war/petroleum-and-sea-power/, https://www.yaleclimateconnections.org/2019/02/a-unique-caribbean-spin-on-climate-fiction/, https://risdmuseum.org/art-design/collection/mar-caribe-carribean-sea-200510, http://www.bostonreview.net/junot-diaz-apocalypse-haiti-earthquake, https://www.raintaxi.com/poetics-revelations-and-catastrophes-an-interview-with-kamau-brathwaite/, https://monthlyreview.org/2020/04/01/covid-19-and-circuits-of-capital/, http://creativecommons.org/licenses/by/4.0/. The sea is shut out here by illimitable tracts of loathsome weed […] The bottles that are thrown over from sinking ships are swept towards this common refuse heap of the deep; derelicts gradually sway into this vortex […] Not until the sea gives up its dead will the whole miserable history of the Sargasso Sea be known. New Brunswick: Rutgers UP, 1997: (37-58). … In “Monstro” the international community is generally irresponsive until the potential for the crisis to spread beyond Haiti becomes clear. What sets it apart is its wry sociopolitical tone and, an everyday acceptance of Death that is uniquely Latino, Both Díaz and Brugués’ works, in contrast to such assumptions and Sanchez’s overly glib conclusions about the chances for survival in the event of a zombie attack or outbreak in Latin America, squarely point to the lack of disaster preparedness not just in the Caribbean, where the scenarios are set, but more broadly. pudrición negra { feminine } A disease of grapevines, attacking the leaves and fruit, caused by the fungus Laestadia bidwellii. At the same time, the passage offers a prescient, if unwitting, registration of capitalism’s transformation of the ocean into trash-heap and dumping-ground, full of derelict ships, but also the detritus of the Atlantic mercantile economy, trapped within a vortex that anticipates today’s garbage patch within the North Atlantic Gyre. Aggressive interventions may be recommended for people showing signs of progressive heart failure (e.g., early intervention with heart transplantation or … While some critics, including Édgar Soberón Torchía, have dismissed it as trash, others, such as Pedro Armando Junco, interpret it as a nationalist appeal to “resolver nuestras dificultades por nosotros mismos” [resolve our difficulties by ourselves]. Patients can be at risk of sharing too much, especially in Rare diseases. While there is nothing unusual about setting stories of zombies and cannibals in the Caribbean, these works differ significantly from earlier works. 17While Díaz worked on an apocalyptic novel provisionally entitled Dark America for years, The Brief Wondrous Life of Oscar Wao (2007), winner of the Pulitzer Prize and his only published novel to date, deals more evidently with the history of the Dominican Republic and the New World than their possible futures.10 Far from a departure from previous concerns, however, “Monstro,” published only two years after the 2010 earthquake in Haiti, also continues exploring the idea of the fukú or curse on the New World that began with Columbus’ arrival. To be a true witness to who we are as a people and to what has happened to us” (3). Similarly, following Aristotle, Scarry argues that habit, which is often maligned for its ability to desensitize and encourage reliance on acquired behaviors rather than innovative thinking, is in point of fact frequently a crucial component to effective emergency responses. Either acute or chronic, the obstruction can be caused by allergies, respiratory infections, air pollution, and other weather conditions. “Los zombis llegaron ya” Molinator 11 June 2012. blacker? So many people leave but I’ve always said, “Why would you leave ? In “Monstro”, Díaz’s unnamed protagonist describes, in retrospect, a world-shattering disaster that began with the appearance of a mysterious illness in Haiti. In the seventeenth century, not long after the “Devastations of Osorio” (1605–1606), which forcefully depopulated the north and northwest of the island in an unsuccessful attempt by an increasingly peripheral Spain to prevent foreign settlement or trade with French, English, and Dutch smugglers, Roque and Côte de Fer’s multi-ethnic band, composed of castaways, a maroon, and a Taíno, survives through the contraband trade of animal hides. While both works are critical of individuals, governments, aid organizations and other groups that either ignore disasters or intervene without the necessary knowledge, experience and deliberative decision making to make effective and ethical choices, they are even more critical of our failures to learn from our own mistakes. Search; Please type a single symptom, sign, disease, non-brand drug name or qualitative investigation result … As Lovecraft expounds in “Notes on Writing Weird Fiction” (1934), “one of my strongest and most persistent wishes [is] to achieve, momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis” (, That fossil-terror, hallucinogenic racism and ecophobia should frequently converge in oceanic spaces is no coincidence, if we consider the role they played in American imperialism. The protagonists’ inept and inadequate responses, along with their endeavors to profit from the epidemic, are a major source of humor in the film. The sea appears as a space of trauma, a “living graveyard” choked with the debris of history (, Contemporary representations of marine trauma have increasingly emphasized the intersections between this colonial history and the degradation of the oceans through pollution and warming temperatures. 1996. Díaz’s text is particularly critical of the larger economic motives behind international disaster response, or lack thereof: “And since it was just poor Haitian types getting fucked up—no real margin in that. 2017. In Lath America an infectious disease called pinta starts with bluish or red pimples and later leaves pale or white patches. 12 June 2012. 44The generally, though not entirely, sympathetic protagonists represent the common man (not the “New Man”) who struggles to find direction and purpose. In accordance with Elaine Scarry’s conclusions in. Her doctoral work investigated the ways literature and films from the Americas continue to employ typological discourses to corroborate, contest and complicate the idea of America as Promised Land. Select Your Cookie Preferences. Werbefrei streamen oder als CD und MP3 kaufen bei Amazon.de. MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affiliations. However, this proves to be a counterproductive measure as well since the living are handcuffed together in a vehicle along with zombies, dramatically decreasing the ability of the survivors to defend themselves. Înscrie-te pe Facebook pentru a lua legătura cu Maria la Negrura şi cu alţii pe care s-ar putea să îi cunoşti. Présentation du dossier consacré à l’Université de l’État de Pennsylvanie, Visions du Sud : Université invitée - Santiago du Chili, Esthétique de la discontinuité (N° 3 | 2007), Littérature comparée et Gender (N° 23 | 2018), Portail de ressources électroniques en sciences humaines et sociales, Reacting to Crises: Immobilization, Incoherent and Coherent Responses, The Roles of Habit and Deliberative Thinking in Emergency Response, The Right of Exit and Freedom of Movement, Conclusion: To Stay and Fight or the Commitment to Equality of Survival, Catalogue des 552 revues. Narratives that foreground the seepage of the other, seemingly inexplicable lifeworlds and temporalities into the everyday, register the onset of larger temblors of transformation within the capitalist world-system. Guillen, Michael. Wright, Edgar, dir. Symptoms of the infantile form include an enlarged brain and head, … You seem to have javascript disabled. in an interview with fellow writer Edwidge Danticat, Díaz asserted: “the real issue in the book is not whether or not one can vanquish the fukú–but whether or not one can even see it. 24Inaction and incoherent responses are not limited to those of individuals in these works. Similarly, following Aristotle, Scarry argues that habit, which is often maligned for its ability to desensitize and encourage reliance on acquired behaviors rather than innovative thinking, is in point of fact frequently a crucial component to effective emergency responses. The Old Oceanic Weird imagines the Sargasso as a depository of a secreted, miserable history which invokes the temporality of the longue durée—whether deep time provoking terror because it is seemingly beyond human conceptualization, or the catastrophic history of the four hundred preceding years of capitalist modernity. While the lack of the right of exit depicted by Brugués and Díaz in both the Cuban and Haitian contexts (and in the Dominican context to a lesser degree) may seem less striking than the immediacy of hordes of attacking zombies and giant cannibals, the lack of the right of exit in fact proscribes the possibility of a viable exit strategy in both cases. Conterio, Martyn. Drawing on Aristotle’s Nicomachean Ethics, as well as a range of more recent work on the topic, she argues that the only effective emergency response, coherent action, requires both deliberation and habit. In the final scene of Brugués’ film, Juan is armed only with an oar and a stubborn refusal to leave his homeland. Yo también :-)! Authors to whom correspondence should be addressed. In Brugués’ film, inspired by the director’s vision of daily life in Cuba, Havana is overrun by the living dead. He already recognizes the difficulty of distinguishing right from wrong and of making ethical decisions, even before the dead rise. Díaz, Marta and Joel Del Río. 10 June 2012. Web. Instead, his actions illustrate some of the potential dangers of forgoing the necessary training and deliberative thinking that can foster coherent responses to crisis situations. Die E-Mail-Adresse, die Sie eingegeben haben ist ungltig. La negrura Tickets Erweiterte Suche: Für individuellere Suchoptionen. Over the long timespan of the narrative, marine ecosystems and their human and non-human inhabitants are subjected not only to biochemical warfare, but also global warming and rising seas, coral bleaching, industrial pollution, overfishing, anomalous weather events and “natural” disasters, environmental racism, and the violence of anti-migration brutality and genocide. A disease that could make a Haitian blacker? Columbus sighted it on his momentous voyage to the West and brought back startlingly lurid tales of its wonderful powers. In fact, I contend that Díaz and Brugués’ contributions to the flourishing subgenre of irreverent apocalyptic fiction offer timely appeals for more humane policies and practices that would serve the international community well in any number of real crises being faced today in the Caribbean, where these narratives are set, and beyond. הצטרף/י לפייסבוק כדי ליצור קשר עם ‏‎Nayet Oriana‎‏ ועם אנשים אחרים שאת/ה עשוי/ה להכיר. Subsequently, we turn to Rita Indiana’s neo-Lovecraftian novel, “‘Je te salue, vieil Océan!’ …your chasms are our own unconscious, furrowed with fugitive memories.”, The Atlantic Ocean has long been central to Caribbean literature and art. ... affliction, disease, complaint, affection . However, as the director explains in an interview, the character of Lázaro is “such a mess” (Guillen) and not a heroic figure in the film. Juan de los Muertos. School of English, Drama and Film, University College Dublin, Belfield, Dublin 4, Ireland, Department of Hispanic Studies, School of Modern Languages and Cultures, Durham University, Elvet Riverside, New Elvet, Durham DH1 3JT, UK. Like many other fictional survival narratives that imagine how people might react to a potentially apocalyptic disaster, these works present a range of possible responses. New York: Norton, 2011. 10 June 2012. 2019. Among Juan’s friends, Lázaro is most noteworthy for his incoherent responses. (2011) portrays a city that harbors significant social and economic disparities, the subtleties of status and wealth among the city’s residents are largely absent from Brugués’ apocalyptic urban landscape. This disease, which Díaz’s narrator describes as “the joke of the year” (107), evokes the fukú or c, Díaz’s short story about the outbreak of a mysterious disease on the island of Hispaniola offers an irreverent and provocative critique of ineffective disaster response and profiteering in the face of catastrophe. This should not be particularly surprising, however, and not only in the work of Díaz, who, while born in the Dominican Republic, grew up in the United States and writes in English, but. Several readers have also pointed to similarities between the voice of the here unnamed narrator and that of Yunior in Díaz’s earlier work. This opening scene situates the novel in relation to the Dominican Republic’s treatment of citizens of Haitian descent, evoking the 1937 “Parsley Massacre” on the Haitian–Dominican border, as well as the more recent, scandalous 2013 legal ruling, “La Sentencia TC 168–13”, which denationalized a large sector of the population. 29Sanchez here reinscribes the very demeaning logic he purports to diagnose by suggesting that Latin Americans value life less than people living in other regions and that they would therefore be less hesitant to use deadly violence and hence more likely to survive. They bring fresh attention to the daily violence and lack of mobility that are the direct result of widespread disregard of the right of exit. Díaz, Junot. Junot Díaz, a Dominican American writer, is notorious for his use of both the Spanish and English languages as a way to enhance his stories and his storytelling ability. 11While the film has generally been received as an outlier in the Cuban film canon, it can also be productively read within the robust national filmmaking tradition. It was the joke of the year” (Díaz, Pg 1). 36Restrictions on freedom of movement, not only for those living in or traveling to Cuba, but also for many living in Haiti and the Dominican Republic, are underscored in these works. 5 If considering methods for surviving a zombie outbreak seems a hopelessly frivolous or hackneyed conceit, consider the recent work on this very topic by, among others, political scientist Daniel Drezner, author of International Politics and Zombies (2011), the U.S. Center for Disease Control (CDC) and Alex Sanchez, researcher for the Washington D.C. based Council on Hemispheric Affairs (COHA) and author of “Latin America and the Zombie Factor.”. 2020. The specifically Caribbean humor in these works is most notable in Brugués’ use of Cuban, Amidst the recent rash of literary and cinematic works featuring zombies and other anthropophagic monsters, Alejandro Brugués’ film, (2011) and Junot Díaz’s short story “Monstro” (2012) stand out for their inventive combinations of cinematically-inspired horror and Caribbean-inflected humor, . La Negrura Bastidas ist bei Facebook. His inadvertent harpooning of Pastor Jones, the English-speaking missionary with a plan to resolve the crisis, reaffirms Lázaro’s inadequate preparation for responding effectively to the crisis while underlining the need for a coherent Cuban rather than foreign solution to the disaster. Chapter 22. The impossibility of disentangling “social”, “political” and “environmental” histories are emphasised from the very start of the novel, even before Weird elements are introduced. It can’t dissociate itself from the neo-picaresque cinematography introduced by Tomás Gutiérrez Alea and Juan Carlos Tabío either. Instead of merely lamenting the inaction or incoherent action of the many groups and individuals with privilege (or “priv” in Díaz’s words) who ignore the collective scream of disaster or respond only with violence, he highlights the coherent actions of those who never stop fighting for survival. In. 5 June 2012. Los cien caminos del cine cubano. For examples, Clifford Garstang notes “The voice seems typical for Díaz—sort of a post-apocalyptic Yunior.” Despite some criticism to the effect that this story appears unfinished, it does present a cogent narrative of irresponsive, inept, fatally and terrifyingly inadequate reactions to emergency situations. Sara Armengot, « Creatures of Habit: Emergency Thinking in Alejandro Brugués’ Juan de los Muertos and Junot Díaz’s “Monstro” », TRANS- [En ligne], 14 | 2012, mis en ligne le 24 juillet 2012, consulté le 27 janvier 2021. México es donde la gente también tiene cubrebocas pero aún sonríen con los ojos. Like many other fictional survival narratives that imagine how people might react to a potentially apocalyptic disaster, these works present a range of possible responses. Like Indiana, Díaz recounts life following an environmental disaster that has left coral reefs “adios on the ocean floor.” UK naval officer Frank H. Shaw’s “Held by the Sargasso Sea” (1908), which offers a paradigmatic condensation of imperialist tropes associated with the sea, mobilises both temporalities: There lies in the Atlantic Ocean, far removed from all the ship routes, and shunned as the plague by sailing vessels […] a mysterious and melancholy thing. 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