Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Captives on the Frontier: Perla Suez and the Cultural Genealogies of the Argentinian Western

Captives on the Frontier: Perla Suez and the Cultural Genealogies of the Argentinian Western 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) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Western American Literature University of Nebraska Press

Captives on the Frontier: Perla Suez and the Cultural Genealogies of the Argentinian Western

Western American Literature , Volume 54 (2) – Jul 25, 2019

Loading next page...
 
/lp/university-of-nebraska-press/captives-on-the-frontier-perla-suez-and-the-cultural-genealogies-of-aoE24GE4rk

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
University of Nebraska Press
Copyright
Copyright © Western Literature Association
ISSN
0043-3462

Abstract

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)

Journal

Western American LiteratureUniversity of Nebraska Press

Published: Jul 25, 2019

There are no references for this article.