: The protagonist exists in a state of constant recollection, where her own identity becomes "weightless" (ingrávido). She is haunted by the literary ghost of Gilberto Owen, a real-life Mexican poet.
To exist "entre fantasmas" in modern Spanish literature is to live in the intersection of what is present and what is remembered. Whether through Luiselli’s weightless poetry, Bencomo’s political chronicles, or the feminist reclamation of history, the ghost serves as a vital tool for understanding identity. It bridges the gap between the individual and a collective past that refuses to stay buried. Entre Fantasmas
In the context of Valeria Luiselli's novel Los ingrávidos (Faces in the Crowd), the idea of living "entre fantasmas" serves as a central poetic of memory . Luiselli uses the "ghost" not as a supernatural element, but as a structural device to link different timelines and geographies—specifically contemporary New York and the Mexico City of the past. : The protagonist exists in a state of
: By placing the narrator "among ghosts," Luiselli suggests that memory is not a linear history but a spatial experience where the past and present occupy the same room. The characters are not haunted by spirits, but by the echoes of their own lives and the literary figures they obsess over. Landscapes of the Disappeared: Anadeli Bencomo Luiselli uses the "ghost" not as a supernatural
The following essay explores "Entre Fantasmas" (Among Ghosts) through these lenses, focusing on how memory, urban space, and historical trauma manifest as spectral presences in contemporary Spanish-language literature. Memory as a Structural Force: Valeria Luiselli
Beyond specific titles, "entre fantasmas" often refers to the liminal nature of disappearance and historical memory in Argentina and Spain.
: Recent essays like Tierra de mujeres connect modern Spanish women with their "first-wave" ancestors as ghosts. Here, being "among ghosts" is a radical act of reclaiming a suppressed feminist lineage. Conclusion