: The ghostly representation of the desaparecidos serves as a way for survivors to process trauma. These "ghosts" lurk in obsessive thoughts and dreams, evidencing the lack of closure in a state where a body is never found.
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. Entre Fantasmas
In her critical work Entre héroes, fantasmas y apocalípticos (Between Heroes, Ghosts, and Apocalyptics), Anadeli Bencomo examines how the Mexican chronicle uses these archetypes to describe a landscape of social and political crisis. : The ghostly representation of the desaparecidos serves
: 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 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
: 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.