Tres caras de una misma moneda: <em>El Tungsteno</em>, <em>Puerto Apache</em> y <em>Mano de obra</em>
Aceptando la idea de que la situación estructural político-económica de Latinoamérica sigue siendo la misma en términos de conflictos de clase, organización y distribución de los modos de producción, jerarquía gubernamental, etc., cabría preguntar cómo es que la literatura que aborda abiertamente dicho conflicto asume o no un determinado patrón estético-político. ¿Qué es lo que separa a la literatura nacida en el seno de los movimientos obreros de principios de siglo XX de obras temáticamente similares en la era de lo globalizado? ¿Hay una diferencia más o menos superficial del mismo modo en el que se diferencian las luchas proletarias de los sindicalistas de principios del siglo pasado de, por ejemplo, el levantamiento zapatista en Chiapas o del movimiento estudiantil chileno tras la debacle económica de 2008? ¿O existe un cambio más pronunciado en la base que distingue a esta literatura separada por casi cien años? Así, tomando como referencia paradigmática tres novelas que se pueden denominar genéricamente como de “tema obrero”: El tungsteno de César Vallejo (1931), Mano de obra de Diamela Eltit (2002), y Puerto Apache de Juan Martini (2002), analizaremos la trayectoria ideológico-cultural que las diferencia en tanto y cuanto a una suerte de cosmovisión estético-política.
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