Argentina is the only country in the Americas that has successfully erased the presence of Indians, Africans, and mestizos from its national story. Official documents, reports, and censuses have largely omitted any references to the country's non-European inhabitants, mirroring official policies that once included the extermination of indigenous peoples and continued to encourage Europeanization well into the twentieth century. In Captive Women, Susana Rotker exposes this concerted act of forgetting by looking at a historical phenomenon that has been expunged from the national record: the widespread kidnapping of white women by Argentine Indians in the nineteenth century. Captivity narratives form a major part of the early colonial literature of the United States, but Argentina has no such tradition. These narratives contradict Argentina's carefully shaped self-image, one historically based on the absence of aboriginal peoples and the impossibility of miscegenation. Captive Women uses close and imaginative readings of military documents, government treaties, travel journals, essays, and memoirs to explore the foundations of Argentina's strategies of silence and its negation of uncomfortable historical realities.
Set in contemporary Spain, Susana Aikin’s latest novel is a colorful, beautifully written examination of memory, romance, and the intricacies of family duty. On a sweltering August day in Madrid, Anna, Julia, and Marion return to their childhood home. The once grand mansion, furnished with exotic objects and art that reflected the cultures of their English father and Spanish mother, once bustled with visitors. But since their father’s death, all three sisters have been reluctant to go back, still feeling the weight of his domineering influence. Julia believes that before the house can sell, it needs to be cleared of negative energy, and she has planned a limpieza, or cleaning ritual. Marion, the oldest, fears what the ceremony might unleash. Anna, the youngest and most capable and ambitious of the trio, is skeptical of the Cuban santeria hired by Julia. Still, she is wary of antagonizing her siblings, or of stirring up old resentment. But as the ceremony progresses, guilt and recrimination become impossible to ignore. And if there’s a chance of bringing their house and their lives out of the shadows, it rests in the sisterhood, strength, and indomitable love that remains when the ghosts of the past surrender at last.
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