It consists of a series of vignettes that draw on Campobello's memories of her childhood and adolescence and the stories her mother told her in Northern Mexico during the war. Though long overlooked, it is now celebrated, among other reasons because it is, as Mexican critic Elena Poniatowska points out, "the only real vision of the Mexican revolution written by a woman. It also, however, is the nickname of a character introduced in the book's opening vignette. The critic Teresa Hurley says of Cartucho that "there is no plot" and points to the book's "unconventional narrative technique and construction. The book brings together not only Campobello's own recollections and personal experience, but also stories she heard from others, above all her mother. As she puts it at one point, these were "stories saved for me, and I never forgot.
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The three historical moments the five texts explore are marked by particular trends in visual representation as well as by official narratives that manipulate or misrepresent history for political purposes. I analyze Cartucho and La noche de Tlatelolco with regard to their distinctive structures using theories on photography and cinematography, which help to describe the narrative dimensions of the works.
Concerning La noche de Tlatelolco, I analyze the way in which early editions of the book incorporated images of , and argue that the text is best understood as an intellectual montage, which communicates through interactions between the fragmentary and contradictory texts that comprise the book. Search OpenBU. This Collection. Login Non-BU Registration.
Cartucho and My Mother's Hands
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