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Modern literary culture depended on the medium of the print book.
Today, with the advent of digital technologies, it is far from
apparent that print is, or should be, the vehicle of choice for
contemporary writers. Print has been placed in relief, as the book
becomes a site of experimentation with new platforms for writing.
Among Latin American countries, none has been as crucial player in
the world of print as Argentina. Argentine presses were the channel
for many of the great modern literary experiments in Latin America.
As such, it comes as no surprise that today, when those same
presses have been gobbled up by transnational media conglomerates
and digital technologies abound, Argentine writers would be
attentive to the shifting media of literature." Late Book Culture
in Argentina" chronicles that shift. Epplin offers readings of some
of the most innovative Argentine writers and collective projects of
recent years: Osvaldo Lamborghini, Cesar Aira, the cardboard
publishing house Eloisa Cartonera, the poetry project Estacion
Pringles, Sergio Chejfec, and Pablo Katchadjian. This corpus
provides a lens through which to understand the numerous
experiments with literary formats in Argentina today. These
experiments take on a number of forms--digital, artisanal, and
collective--and they provide the ferment for some of Argentina's
most audacious contemporary literature. As such they deserve
critical attention and theoretical examination.
Modern literary culture depended on the medium of the print book.
Today, with the advent of digital technologies, it is far from
apparent that print is, or should be, the vehicle of choice for
contemporary writers. Print has been placed in relief, as the book
becomes a site of experimentation with new platforms for writing.
Among Latin American countries, none has been as crucial player in
the world of print as Argentina. Argentine presses were the channel
for many of the great modern literary experiments in Latin America.
As such, it comes as no surprise that today, when those same
presses have been gobbled up by transnational media conglomerates
and digital technologies abound, Argentine writers would be
attentive to the shifting media of literature. Late Book Culture in
Argentina chronicles that shift. Epplin offers readings of some of
the most innovative Argentine writers and collective projects of
recent years: Osvaldo Lamborghini, Cesar Aira, the cardboard
publishing house Eloisa Cartonera, the poetry project Estacion
Pringles, Sergio Chejfec, and Pablo Katchadjian. This corpus
provides a lens through which to understand the numerous
experiments with literary formats in Argentina today. These
experiments take on a number of forms-digital, artisanal, and
collective-and they provide the ferment for some of Argentina's
most audacious contemporary literature. As such they deserve
critical attention and theoretical examination.
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