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Captives on the Frontier Perla Suez and the Cultural Genealogies of the Argentinian Western Christopher Conway I wanted to build a Western based in our Patagonia. I love the movies of Tarantino and the Coen Brothers. Th ere’s a similar geography, it’s the same continent, but our culture is diff erent. Perla Suez Must a non- US Western always be a pastiche of a US Western to be classifi ed as a Western? Can a non- US Western be set outside of North America and still be called a Western? Th ese are the challenging questions that come to mind when thinking about Argentina’s well- developed frontier mythology. Perla Suez’s acclaimed novel El país del diablo (Th e Devil’s Country, 2015), which won the Sor Juana Inés de la Cruz prize for best novel at the Feria Internacional del Libro in Guadalajara, Mexico, illustrates how Argentinian frontier fi ctions can echo both a national tradition as well as a US mythology. Suez, one of the most respected Argentinian novelists, has insisted on this duality in print and television interviews, citing her country’s frontier history as an inspiration alongside US Westerns (Quentin Tarantino’s Django Unchained and Jim Jarmusch’s Dead Man)
Western American Literature – University of Nebraska Press
Published: Jul 25, 2019
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