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The cultural industry all around the world has seen a new interest in dystopian genres. At the same time, Argentina has shown an increase presence of feminism in the public scene during at least this last decade. Argentine literature showed it as well, and it can be considered one of its pillars. That is why we are interested in the relationship between the reflexion about feminism and the reflexion about dystopia. In this article, we analyze the novel Estrógenos (2016) by Leticia Martin. In this book, we are told about the journey of a pregnant man in a post-apocalyptic world. Our analysis probes the different aspects of this fictional narrative (technological, political, and ecological dytopias), and their connections to a critique of patriarchy.

Epilogue to the dossier "New Argentine speculative / anticipatory narrative"

Claudia Aboaf's trilogy, made up of Pichonas (2014), El Rey del Agua (2016) and El Ojo y la Flor (2019), is part of a series of dystopian literary manifestations that exhibit the social, political and economic crisis of Argentinian society since a time of state terrorism and as a consequence of the neoliberal model. In a fragmented and futuristic setting, through the internal process carried out by the protagonists, the author presents a journey that starts from pain, violence and the symbolic absence of bodies, and is directed towards a new proposal of singularity, affectivity and interaction.

Numerous Argentine dystopian narratives of this century revolve around the local neurosis of an involution towards barbarism. The motif of the regression unleashes a decolonizing movement that even reaches one's consciousness. In Un futuro radiante by Plotkin and Schweblin's Distancia de rescate, the configuration of an apocalyptic world highlights the consequences of the policies of current capitalism and leads us to review the foundations of the civilization project and the modernizing program in our country. But in addition, the imminence of the end enables in these texts a new tone emancipated from the vicissitudes of personal life and history that fictionally expresses the "promiscuous" and eminently alien character of identity. The article pauses in the analysis of the narrative strategies and formal procedures used in the texts to compose these two necessarily interconnected universes: the world of law and political control, and the world of intimacy.

Within the growing emergence of Argentine literature framed in dystopian science fiction genre, we find Rafael Pinedo’s work (Plop, Frío and Subte), which virtues highlight the opportunity to reading that writer’s books according to the present of the enunciation with a critical focus that enables the reflection about the context of production. In this sense, we will highlight a phenomenon that signed the novels of the mentioned author in relation to a climate of the times: the dialogical impossibility of enunciating differences and, together with it, the construction of identities.

The return of a new sciencie-fiction in the last years, which purposes surpass the “pure novelesque”, contemplates the urge to find a meaning to the change of materials’ hierarchy, used in these fictions. The description of worlds captured by large computer trusts, in these new anticipation fictions, intentionally, makes use of social and scientific theories, in the speculative genre mood, connected with metafictional devices. The prescence of a narrative instance that, by means of omniscience estrangement, and a strong load of scientific intertextuality, order the chaos of paranoid perceptions, contrast with “weak” forms of narration, familiar with the ethnographic and postautonomous novel, linked with the genre. This external mode of language, origin of the text murmur, constitutes itself, in the political unconscious of the compositive form of the new scientific fiction, in wise discourse.