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In The Transparency of Evil, Jean Baudrillard who is a Euro-North American philosopher on Postmodernity, declares Postmodernity as apocalyptic and thus sentences historical subjectivity, referentiality in history, and the social (the ethical relationship between self and others in the social realm) to death. Nevertheless, in peripheral Latin America under dictatorships and post-dictatorships, we witness different kinds of Postmodernity, filled with the presence of a strong political subjectivity and the nets of the social. In the same way, Euro-North American theorists on Postmodernism view it as a universalizing concept, hence they wrongfully include Latin America’s modern novels under the label of postmodern. This article examines Latin American postmodern novels within the framework of this new kind of citizenship as it evolves during the process of redemocratization and neoliberalism in Latin America. This article focuses on Uruguayan writer Ana Solari’s Scottia (1997), Chilean author Luis Sepúlveda’s El viejo que leía novelas de amor (1993), and Mexican writer Mario Bellatin’s Salón de belleza (1994), to demonstrate the traces of different kinds of postmodern novels. Thus, it will explore the novels’ various political subject positions as examples of the existence of a strong political subjectivity with a strong historical agency in Latin America, all of which was sentenced to death by Euro-North American theorists on Postmodernity. Thus, it denounces the fallacy of the Euro-North American universalizing theory on Postmodernity and Postmodernism, and clarifies the discrepancy between Euro-North America’s definition of Latin American postmodern novels and Latin America’s definition of its own postmodern literary texts.
