Abstract
Puerto Rican literature from the mid-1970s onwards has offered incisive ways to think through shifting socio-ecological realities under neoliberalism, which it arguably registered through an intensifying aesthetics of socio-ecological degradation. The chapter will draw on texts from the different periods within neoliberalism, starting with Luis Rafael Sánchez’s La guaracha del Macho Camacho (2007 [originally published in 1976])—a text that coincided with the crisis of oil-fuelled “Operation Bootstrap” and the amendment of Section 936 of the Inland Revenue Code—and ending with an analysis of Rafael Acevedo’s eco-dystopian Al otro lado del muro hay carne fresca (2014)—a novel that speaks strongly to the post-2006 crisis. Following Ayala and Bernabe, who posit that “the pulse of the world capitalist economy” has been particularly evident in Puerto Rico due to its close and subordinated relation to United States since 1898 (2009: 3), I argue that Puerto Rican literature could be seen as an often highly self-conscious example of world-literature (defined by Warwick Research Collective [WReC] as the literature of the world-system). And since the world-system is also a world-ecology (Niblett, Green Letters 16 (1): 15–30, 2012), it is possible to read these texts as not only world-literary but also critically world-ecological. The chapter seeks to read some of the aesthetic shifts—often discussed under the rubric of “postmodernism”—in relation to world-ecological change.
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Notes
- 1.
The extent of the tragedy was downplayed by the government of right-wing Ricardo Roselló, who gave an official death count of 64. A new Harvard study places the death toll at more than 70 times this estimate, namely 4645, which is “likely to be an underestimate due to survivor bias” (Kishore et al. 2018: 1).
- 2.
Thanks to Dr Yarí Pérez Marín for her helpful comments on an earlier draft of this article.
- 3.
- 4.
A longer history of Puerto Rican aesthetics of environmental degradation is offered by Acosta Cruz.
- 5.
See Frances R. Aparicio’s discussion of the role of music in the novel (1993).
- 6.
As Graeme McDonald has suggested, the putative absence of great cultural works engaging with oil is overstated. “[G]iven the global cultural reach of an oil and gas dominated world energy system, all fiction is petro-fiction to various removes” (2013: 19).
- 7.
In the 1960s, there was an attempt to sift towards petrochemical industrialization but this was brought to an end by the Oil Crisis (Ayala and Bernabe 2009: 192–3).
- 8.
In the story’s apocalyptic ending the island is engulfed by the sea, cars are swallowed up by the ground, and an oil fountain breaks forth. This is ironic, Rodríguez Marín suggests, since oil wealth “could have changed the history – economic, social and colonial – of Puerto Rico” (2004–5: 29). Yet the irony might also be said to turn on oil’s veiled omnipresence preceding the apocalypse—something that Vega highlights through the insistent emphasis on processed American foods, omnipresent cars, consumer goods and the TV screens.
- 9.
On the allegorical dimension of his death, see Pérez Montijo.
- 10.
See also Luis Felipe Díaz’s seminal De charcas, espejos, infantes y velorios en la literatura puertorriqueña (2013). Díaz traces a longer history of the national child from the nineteenth century to the present day.
- 11.
Díaz reads the scene of the deliberate exposure of the child to the sun as staging a regressive desire to reintegrate into Nature and to leave behind the “empire of the artifice of signs” (143). I would here add that instead of opposing late modernity to “Nature,” it is here useful to understand late capitalism as a way of organizing nature in such a way that increasing financialization, globalization, and mass mediatization produce the appearance of the domination of signs while creating increasingly hostile socio-ecological environments for the majority.
- 12.
See also Huard’s analysis of convenience foods and the critique of the “alimentary American Dream” (245).
- 13.
Hernández’s analysis of increasing food dependence in the Dominican Republic and the increasing redundancy of low-skilled workers within a world-systemic context here provides an excellent comparison (2002: 58; 4).
- 14.
Sirena’s gender fluidity is highlighted in the novel through changing pronouns. I here follow the novel’s employment of feminine and masculine pronouns.
- 15.
In early twentieth century Caribbean literature, cars tended to be associated with the plantation overseers.
- 16.
See Mimi Sheller (2003).
- 17.
Acosta Cruz offers an insightful longer history of the aesthetics of environmental degradation (2014).
- 18.
Davies dates “punitive neoliberalism” from 2008, which in the Puerto Rican context may be modified to 2006, the year that marks the beginning of the recession.
- 19.
For a perceptive commentary on El killer as a fiction critical of neoliberalism in Puerto Rico, see Casanova-Vizcaíno (2015).
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Oloff, K. (2019). From “Section 936” to “Junk”: Neoliberalism, Ecology, and Puerto Rican Literature. In: Deckard, S., Shapiro, S. (eds) World Literature, Neoliberalism, and the Culture of Discontent. New Comparisons in World Literature. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-05441-0_3
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