| Titre | Veloces monstruos de metal se han adueñado de la ciudad: el terror y lo fantástico en la obra poética de Oscar Hahn | |
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| Auteur | Luis Miguel Varela Herrera | |
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Revue | Amerika |
| Numéro | no 26, 2023 Fictions de la terreur dans le Cône Sud et au Brésil : représentations récentes | |
| Rubrique / Thématique | Dossier: Fictions de la terreur dans le Cône Sud et au Brésil : représentations récentes Novelas y Relatos |
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| Résumé anglais |
In Reencarnación de los carniceros. Visiones de la Era Nuclear (2019), Chilean poet Oscar Hahn (1938) gathers and rewrites poems (previously scattered in other publications) with apocalyptic and post-apocalyptic dimensions that represent urban spaces shattered either by war conflicts or nuclear bombs. New fantastic species emerge in Hahnian poetic imagery to populate those dystopian cities where « No queda oxígeno que respirar / La clorofila se ha vuelto alquitrán » . Thus, mutants appear in the poems who « tienen los ojos atrofiados / pero pueden ver y pensar / con cada célula de su piel » . I am interested in the analysis of the end-of-the-world and post-apocalyptic chronotope in the representation of terror in Oscar Hahn's poetic work, since in this dehumanized space-time not only the massive horror (the end of humanity) but also figures and topics of the fantastic narrative are described. Assuming this position implies, first, considering space-time in the study of horror and, second, the fantastic dimension in Hahnian poetry. The latter would be problematic, since it would include the lyric within the manifestations of fantastic literature, which has been limited or reduced to the narrative genre. Source : Éditeur (via OpenEdition Journals) |
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| Article en ligne | https://journals.openedition.org/amerika/17979 |
