Film Review: “Documenting Extraction in La hija de la laguna,” Mediático (University of Sussex), 12 June 2017.


Ernesto Cardenal’s Apologia for Ezra Pound,” Istmo: revista de estudios culturales centroamericanos, vol. 32, 2016.

ABSTRACT: While most scholarship examining Ezra Pound’s influence on Ernesto Cardenal’s poetics has focused on style and form, little attention has been given to the vast ideological differences that separate the two. Why would Cardenal, a committed Marxist and Liberation Theologist, claim as his biggest influence a poet whose fascist, anti-Semitic politics figure so prominently in his work? If perhaps the most obvious response is that Cardenal was more interested in Pound’s aesthetics than his ideology, this conclusion obviates the question of how Cardenal accounts for Pound’s politics. By taking a look at Cardenal’s discussion of Pound’s politics and probing possible ideological congruencies in their works, this article proposes that Cardenal was not only inspired by Pound’s reinvention of the epic and use of the archive, but also stirred by his figuration of the poet as a political actor, and persuaded by his condemnation of the U.S. government and usury. This affinity between these two great poets, I argue, discloses the slippage between two oppositional discourses—the Fascist and the Marxist—in their critiques of production in the mid-twentieth century.

Film Review: “The Case for Slow Cinema: Natalia Almada’s Todo lo demás” Mediático (University of Sussex), 7 Nov. 2016.

Film Review: “On the Recent Guatemalan Film Ixcanul.Mediático (University of Sussex), 8 Aug. 2016.

González-Stephan, Beatriz and Carolyn Fornoff. “Market and Nonconsumer Narratives: From the ‘Levity of Being’ to Abjection” The Cambridge History of Latin American Women’s Literature. Eds. Ileana Rodríguez and Mónica Szurmuk. Cambridge: Cambridge UP, 2015: 486-502.

ABSTRACT: The astounding commercial success of the literary boom femenino since the 1980s, combined with a highly active female readership, has dramatically reshaped the Latin American literary landscape that traditionally relegated women to the sidelines.  However, even though bestselling women have gained visibility in the publishing industry, the association of the bestseller with “light,” trashy lit has produced a ghettoization of all publications by women to the reductive parameters of “women’s literature,” perpetuated by the critical oversight of innovative texts written by women. This article examines how the accelerating transformation of literature into an industry has produced a commodification of feminism, difference, and the eroticized female body into promotable concepts, and how contemporary experimental women writers have called attention to this process of market-driven co-optation, and responded by reworking these sites. Writing against marketable figurations of feminist girl power and the Allendian “levity of being,” the turn to abjection, cynicism, and anesthetized disenchantment by many women authors complicates the facile consumption of fiction as entertainment.

Fornoff, Carolyn. “Descifrar el Secreto: “La secta del Fénix” y el acertijo literario“, Variaciones Borges 39 (2015): 125-142.

ABSTRACT: Uno de los textos menos comentados de Ficciones, “La secta del Fénix” ha sido tratado por lo general por la crítica como un simple acertijo, ejemplar del chiste literario borgiano. Los críticos que han abarcado este texto coinciden en afirmar que el “secreto” de la Secta es el coito, como Borges mismo aludió en una entrevista con Ronald Christ en 1968. Este articulo recorre el legado crítico del texto, el performance del secreto por Borges en su entrevista con Christ, y cuestiona la tendencia crítica de recurrir a una lectura extratextual de “La secta del Fénix” para resolver el acertijo con la respuesta propuesta por el mismo autor. Al poner de lado la evidencia metatextual, a partir del concepto derridiano del “secreto” se despliegan otras posibilidades de lectura del acertijo, que reformulan el texto de un simple chiste con una respuesta única a un texto ricamente ambiguo, parte del corpus literario de Borges que problematiza cuestiones de identidad y lenguaje.

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