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In December 1999, the so-called “Vargas Tragedy” destroyed the Venezuelan coast after days of torrential rain caused over fifty landslides in the greater metropolitan area of Caracas. The disaster coincided with a referendum to redraft the Venezuelan constitution during the first year of Bolivarian Socialism, and was conceived of as a punctual political event that marked the beginning of a new historical period for Venezuela. This understanding of the landslides has been contested by authors and filmmakers who negotiate ecological crises as complex multitemporal, transnational processes. Focusing on the use of child protagonists in Una tarde con campanas (2004), a novel by Juan Carlos Mendez Guedez, and El chico que miente (2011), a film directed by Marite Ugas, this article analyses the creative strategies employed in contemporary Venezuelan culture that foreground alternative responses to the landslides. On the one hand, I argue that adolescence is used in these texts as a figurative device that rebels against the politicisation of the disaster and thus, by extension, undermines the state’s elision of a post-catastrophic and post-capitalist future. On the other, I argue that childhood is mediated as a heterogeneous site that defies facile reification, much like the disaster, and invites a reconsideration of the ways in which we conceptualise the relationship between the human and the non-human. Resumen En diciembre de 1999, la llamada “tragedia de Vargas” destruyo la costa venezolana despues de dias de lluvias torrenciales que causaron mas de cincuenta derrumbes en las afueras de Caracas. El desastre coincidio con un referendum para reformar la constitucion venezolana durante el primer ano del mandato de Hugo Chavez y, por lo tanto, se considero un evento historico que rompio con la “cuarta republica” y marco una nueva era para el pais bolivariano. En el ambito cultural, esta vision del desastre ha sido rechazada por varios autores y directores venezolanos, quienes senalan al desastre como un proceso no cronologico cuyos efectos e impactos transcienden las fronteras nacionales. Este articulo analiza el trama pos-catastrofico protagonizado por ninos en Una tarde con campanas (2004), una novela de Juan Carlos Mendez Guedez, y El chico que miente (2011), una pelicula de Marite Ugas. Por un lado, argumento que estos textos recurren a la infancia como un mecanismo narrativo que confronta la politizacion de la supervivencia y, por extension, desautoriza las visiones de un futuro pos-capitalista/pos-catastrofico. Por otro lado, sugiero que la infancia se ve como un sitio heterogeneo que niega la codificacion y el dualismo sociedad/naturaleza, exigiendo asi una reconsideracion de las relaciones entre lo humano y lo no-humano.

ecozon@

<b>Bolivarian Landslides? Ecological Disasters, Political Upheavals and (Trans)National Futures in Contemporary Venezuelan Culture</b> // ¿Derrumbes bolivarianos? Desastres ecológicos, sublevaciones políticas y futuros (trans)nacionales en la cultual venezolana actual

Bolivarian Landslides? Ecological Disasters, Political Upheavals and (Trans)National Futures in Contemporary Venezuelan Culture // ¿Derrumbes bolivarianos? Desastres ecológicos, sublevaciones políticas y futuros (trans)nacionales en la cultual venezolana actual