Acceso usuarios
Baile con serpientes (1996) by Salvadoran writer Horacio Castellanos Moya narrates a symptomatic violence due to the emerging economic order of neoliberalism during the official transition to peace. The present study attends to the novel’s sonic register to show how silence, noise, and music reinscribe the memory of the civil war in a tumultuous present. Fueled by neoliberal rationality, the main character attunes to a hyper-masculine voice as a means of participating in Central America’s emerging consumerist, post-conflict society. The following draws on Sayak Valencia’s concept of the endriago subject—a masculine subjectivity rooted in the exercise of violence as necroempowerment—to signal the violent transformation of the main character into a celebrity due to media attention.
Sound—whether unpleasant noise or melodious music—becomes a fulcrum upon which protagonist Eduardo Sosa’s neoliberal subjectivity alternately emerges and is repressed by a reactionary state. The following will demonstrate how the sonorously gory scenes described in the novel resonate with the unresolved social corruption which facilitates the persistence of violence in the neoliberal present.
The textual representation of silence, noise, and music recasts Sosa’s violent disruption to incorporate himself into a masculine and violent postwar era.
