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This chapter examines three novels—Paraíso clausurado (Paradise Closed) by Pedro A. Palou, Empty Set by Verónica Gerber Bicecci, and El hombre dinero (The Money Man) by Mario Bellatin—through Caroline Levine’s theory of literary forms. It explores how, despite appearing apolitical, these forms still carry a political dimension. Each of these novels presents innovative and challenging structures, yet they can be interpreted within the contexts of globalization and postmodernism, demonstrating that they cannot escape their historical and political environments. In Paraíso clausurado, the politics of form also become an implicit political statement. Empty Set presents an implicit political stance from the outset, as it is indirectly centered on a character who disappeared during the 1970s Argentine dictatorship. Meanwhile, Bellatin’s works are often interpreted as spatial texts devoid of direct historical or political contexts; however, in El hombre dinero, Bellatin critiques how money functions as an oppressive force and calls for its eradication.

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The Politics of Literary Forms: Pedro Ángel Palou’s Paraíso clausurado, Verónica Gerber Bicecci’s Empty Set, and Mario Bellatin’s El hombre dinero

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  • 发表日期：

    2025年

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  • Héctor Jaimes

摘要

This chapter examines three novels—Paraíso clausurado (Paradise Closed) by Pedro A. Palou, Empty Set by Verónica Gerber Bicecci, and El hombre dinero (The Money Man) by Mario Bellatin—through Caroline Levine’s theory of literary forms. It explores how, despite appearing apolitical, these forms still carry a political dimension. Each of these novels presents innovative and challenging structures, yet they can be interpreted within the contexts of globalization and postmodernism, demonstrating that they cannot escape their historical and political environments. In Paraíso clausurado, the politics of form also become an implicit political statement. Empty Set presents an implicit political stance from the outset, as it is indirectly centered on a character who disappeared during the 1970s Argentine dictatorship. Meanwhile, Bellatin’s works are often interpreted as spatial texts devoid of direct historical or political contexts; however, in El hombre dinero, Bellatin critiques how money functions as an oppressive force and calls for its eradication.