{"id":75,"date":"2020-04-02T16:05:06","date_gmt":"2020-04-02T20:05:06","guid":{"rendered":"https:\/\/commons.princeton.edu\/patagonia\/?page_id=75"},"modified":"2020-05-12T19:40:21","modified_gmt":"2020-05-12T23:40:21","slug":"neyci-g","status":"publish","type":"page","link":"https:\/\/commons.princeton.edu\/patagonia\/neyci-g\/","title":{"rendered":"How Many Patagonias Can You Write About?"},"content":{"rendered":"
Neyci Estefan\u00eda Guti\u00e9rrez Valencia<\/h5>\n
“Is this Patagonia? And if this is Patagonia, what am I?”<\/h6>\n
C\u00e9sar Aira, La costurera y el viento<\/em><\/h6>\n

\"\"<\/p>\n

Patagonia, the land at the end of the world, has captivated the imagination of writers around the globe, driving their pens and enthralling their readers. One of the most well-known accounts is Bruce Chatwin\u2019s In Patagonia, <\/em>where the main character embarks on a journey across Patagonia interviewing dwellers along the way. However, as verosimile as this account is, there are \u00a0many \u00a0aspects \u00a0that \u00a0deviate \u00a0from \u00a0reality \u00a0significantly, \u00a0which \u00a0many \u00a0readers \u00a0that \u00a0have incorporated Chatwin\u2019s descriptions into their imaginary may find shocking. Another famous work about Patagonia is El Sur <\/em>by Jorge Luis Borges. This short story begins with the character\u2019s longing\u00a0 for\u00a0 the\u00a0 South,\u00a0 a\u00a0 place of liberation and freedom, an idea that has long been present in Argentine tradition, starting from the classic Mart\u00edn Fierro.<\/em><\/p>\n

Even though Patagonia is usually treated as a land beyond control and conventional social norms, there is a contrast between the approach Argentine writers and English writer Bruce Chatwin have: Chatwin depicts Patagonia as a place populated and civilized by foreigners, whereas famous Argentine authors have used it as a representation of freedom and opportunity. While this region has harnessed the fascination of many around the world, there is no specific critic body that analyzes these narratives as a whole, and thus there are few that have compared how authors have used the image of Patagonia. This paper explores the main similarities and differences between lesser known works on the region, including Night Flight <\/em>by Antoine de Saint-Exup\u00e9ry, Falsa Calma <\/em>by Maria Sonia Cristoff and La costurera y el viento <\/em>by C\u00e9sar Aira.<\/p>\n

One common characteristic found in these texts, even if they do not fit into the travel narrative genre strictly, is the theme of travel. Texts that<\/p>\n

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Lady Florence Dixie by Th\u00e9obald Chartran, from Vanity Fair, <\/em> 5 January 1884<\/span><\/figcaption><\/figure>\n

follow journeys have nurtured the \u201cnomadic imagination\u201d (Nouzeilles 199-200) of earnest adventurers around the globe who relish on the possibility of going back home to tell their stories of remote places like the characters in such narratives. This is not a new phenomenon: \u00a0Lady Florence Dixie<\/a> wrote accounts of her voyages as early as 1880. Whenever someone visits a place, the narrations about it come to mind and their perception of the place becomes an \u201c[i]nterplay of [their] imagination with geographical myths\u201d (Nouzeilles, 35-48). This essay shall look at how the authors construct their literary journeys to Patagonia through landscape descriptions, the structure of the journey itself and the characters that inhabit their tales.<\/p>\n

Night Flight <\/em>is the story about Fabien, a pilot, and his superior, Rivi\u00e9re, who operates air mail in Patagonia. The book draws inspiration from Exup\u00e9ry\u2019s experiences at the front of Argentina Aeroposta. Published in 1931, almost 50 years after the Conquest of the Desert, the military occupation campaign, and 50 before Chatwin\u2019s In Patagonia, <\/em>the text still has colonial undertones present in Exup\u00e9ry\u2019s word choices in descriptions.<\/p>\n

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Relevant information about Night Flight. Plane credits: History Timeline Vectors by Vecteezy<\/a><\/figcaption><\/figure>\n

Falsa Calma <\/em>is a non-fiction book written by Maria Sonia Cristoff<\/u><\/a> in 2005 about the lives of people in \u201cghost towns\u201d in Patagonia. The author, who is also the narrator, intends to function as a medium for the people in these ghost towns to tell their stories. The narrator portrays the everyday struggles of people living in these towns, especially those arising from their relationship to their town\u2019s isolation. Originally from Patagonia, Cristoff writes about it from outside her own homeland and tries not to follow \u201cin the line of Chatwin\u2019s creation of myths\u201d, demystifying the land and its people.<\/p>\n

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Relevant information about Falsa Calma. Frame vector created by macrovector_official – www.freepik.com Work vector created by stories – www.freepik.com<\/figcaption><\/figure>\n

C\u00e9sar Aira<\/a> is an author from Buenos Aires who wrote La costurera y el viento <\/em>in 1994. The narrator is the author\u2019s namesake, a resource commonly used by Aira in other texts. The main character is a seamstress who is taken to Patagonia when looking for her disappeared child. Through symbols and characters, Aira places women and femininity in the traditionally male-dominated Patagonian landscape, like Lady Florence Dixie and Maria Sonia Cristoff do.<\/p>\n

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Relevant information about La costurera y el viento<\/figcaption><\/figure>\n

T<\/span>\u00a0 ravel narrative<\/span><\/h3>\n

The term travel narrative is used to describe literature that portrays an individual leaving their everyday environment and going to a place that is often remote or mysterious in search of adventure. Travel narrative is so ingrained in literary tradition that is often presented as the \u201cmodel narrative\u201d (Mikkonen, 286). This kind of text is usually written from the perspective of individuals that are \u201climited to a certain social class […] not only because they need the means to finance the trip [but also] the intellectual formation to articulate their vision\u201d (Livon Grosman). The authors for all three texts have the means to express their viewpoint of Patagonia from an outsider\u2019s perspective, even if they are not all outsiders in the same way.<\/p>\n

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“Welcome to Ca\u00f1ad\u00f3n Seco” sign from http:\/\/sagfamush.blogspot.com\/2015\/03\/reapertura-del-seminario-introductorio.html<\/figcaption><\/figure>\n

Maria Sonia Cristoff\u00b4s account adheres to some of the conventions of travel narratives. She grew up in Patagonia and went back to write Falsa Calma<\/em>. Even so, she recognizes that people from Ca\u00f1ad\u00f3n Seco felt \u201cthe need to expel the intruder\u201d (Cristoff, 51) after she had spent too much time there and the initial curiosity about her presence had subsided. Therefore, she recognizes that her experience was limited due to her condition as a visitor, someone who inevitably has to leave. However, she subverts the notion of travel narratives as opportunities for adventure, as she travels to portray everyday life in Patagonia. Therefore, this modern non-fiction narrative attempts to introduce readers to an aspect of the legendary land that is often overlooked: the people that \u201c[went] to Patagonia and never [came] back\u201d (Cristoff, 28).<\/p>\n

Exup\u00e9ry and Aira focus more on traditional adventures. In La costurera y el viento<\/em>, the narrator explains how French people gasp at the mention of Patagonia, where \u201call adventures could happen\u201d (Aira, 19). Aira implies he has completed the last stage of the travel narrative: going back and telling others about the journey. However, the narrator is not part of the main events in the novel\u2019s plot.\u00a0 In fact, he\u00a0 implies\u00a0 that\u00a0 the\u00a0 main\u00a0 characters\u00a0 will\u00a0 never\u00a0 be\u00a0 able\u00a0 to\u00a0 get\u00a0 out\u00a0 of Patagonia: for Delia, the seamstress, it was \u201cimpossible to think that she would ever get out of there\u201d (Aira, 30)\u00a0 Moreover, Aira affirms that a trip is only \u201cbearable when it is in significant\u201d (Aira, 19), and given that the characters in the novel have been transformed deeply by their trip to Patagonia, it is likely that they would not be able to go back to Coronel Pringles. Therefore, Aira challenges the<\/p>\n

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Coronel Pringles in Buenos Aires, Argentina. Source: https:\/\/www.tripadvisor.es\/Attraction_Review-g3931949-d9556484-Reviews-Plaza_Coronel_Pringles-Coronel_Pringles_Province_of_Buenos_Aires_Central_Argenti.html<\/figcaption><\/figure>\n

idea of people being transformed by Patagonia when they have the option to leave, proposing that the only true way to be transformed by a journey is to never leave the place one goes to, never having the choice to return.<\/p>\n

Exup\u00e9ry shows the characters embarking on several journeys throughout the novel, with the most important one being the night when Fabien goes missing. In this case, the danger travelling entails is justified by the need, or ambition, of bringing air mail to Patagonia even if it requires some sacrifices; they are willing to send people out on missions during a cyclone because \u201ccyclones never cross the Andes\u201d (Exup\u00e9ry, 34) The journey also has eurocentric and colonialist undertones, as the narrator often explains that Rivi\u00e9re sees mail delivery as \u201ccities falling one by one before a conqueror\u201d (Exup\u00e9ry, 59). Given the novel\u2019s purpose is to pay homage to the bravery of pilots delivering airmail,\u00a0 Exup\u00e9ry\u2019s decision to highlight the difficulties theyfaced during their journeys and comparing their deeds to conquest is<\/p>\n

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Cloudy Andes. Source: https:\/\/www.reddit.com\/r\/EarthPorn\/comments\/9p50eu\/the_calm_before_the_storm_andes_mountains\/<\/figcaption><\/figure>\n

reasonable: it would help people recognize their labour, even if it meant portraying Patagonia as an uninhabited, inhospitable land. Nevertheless, it is inevitable for the reader of Exup\u00e9ry\u2019s novel, or of the other two texts, to unconsciously Patagonia with their readings.<\/p>\n

 <\/p>\n

<\/h3>\n

Landscapes<\/span><\/h3>\n

For Exup\u00e9ry, the landscape is \u201cuninhabited, […] the pin-points of \u2018civilisation\u2019 visible to<\/a>\u00a0 the pilot […] reinforced a sense of the sparse scattering of European settlers across their<\/a> colonies<\/a>.<\/u>\u201d From the<\/p>\n

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Argentina air mail stamp, showing the world below<\/figcaption><\/figure>\n

aeroplane from which Fabien looks at Patagonia, the only visible traces of human activity are related to Europeans. The author frequently highlights the pristineness and alluring danger that Patagonia represents stating it is \u201cpeaceful, yes, but tense with some dark potency\u201d (Exup\u00e9ry, 27).\u00a0 The land\u2019s metaphorical and literal darkness is thus contrasted with the light from the European settlements, which constitute the only human settlements the narrator acknowledges.<\/p>\n

 <\/p>\n

In contrast, Maria Cristoff offers a more personal view. Mountains and tiny villages in the distance are replaced by descriptions of\u00a0 \u00a0Ca\u00f1ad\u00f3n Seco: its bus stops, kiosks and parks. The only time the greater<\/p>\n

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A park in Ca\u00f1ad\u00f3n Seco. Credits to De Caletaweb – http:\/\/www.caletaweb.com.ar\/, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/w\/index.php?curid=25527939<\/figcaption><\/figure>\n

Patagonian landscape is described with a visual image it is to heighten the feelings of Francisco, the plane pilot: \u201cthe blue sky and white ocean contrasted with the feeling of fear: Patagonia, unmovable by fear nor human change\u201d (Cristoff, 39).\u00a0 The contrast between the feelings of the pilot and the calm appearance of the Patagonian landscape is entirely different from Exup\u00e9ry\u2019s approach, where Fabien\u2019s emotions match his tempestuous surroundings. In Cristoff, Patagonia\u2019s impassivity gives meaning and significance to its title: Falsa Calma<\/em>. Even if Patagonia\u2019s landscape does not reflect it, the people living in it struggle constantly.<\/p>\n

Aira differentiates himself from the others by not describing landscapes in detail. In La costurera y el viento, <\/em>Patagonia appears to be a symbolic space. While Aira uses toponyms to situate the reader in\u00a0 the\u00a0 geographic\u00a0 space\u00a0 of\u00a0 Patagonia, he hyperbolizes its vastness and emptiness, calling<\/p>\n

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Moon above Patagonia. Source: https:\/\/www.tripadvisor.com\/LocationPhotoDirectLink-g7702371-d6407572-i306380640-Laberinto_Patagonia-El_Hoyo_Province_of_Chubut_Patagonia.html<\/figcaption><\/figure>\n

it the \u201cbiggest place of all\u201d (Aira, 80).\u00a0 Not only are visual images of Patagonia scarce, but those that exist oftentimes contradict each other. Delia sees a moonless night; her husband observes a full moon.\u00a0 This means Patagonia, in its blank slate, can transform people in \u00a0entirely different ways. This is similar to how authors have produced dramatically different accounts of Patagonia.<\/p>\n

The three stories use the symbol of the wind with different purposes. In Night Flight, <\/em>the wind serves as a device for creating tension during the passages describing Fabien\u2019s flights and\u00a0 is often seen as the adversary who \u201c[buffets] him […] from side to side\u201d (Exup\u00e9ry, 28), eventually leading to his disappearance. The wind, a symbol representative of Patagonia itself, is consequently an obstacle for Rivi\u00e9re and the pilots to achieve their goal of establishing Patagonia Mail, thus showing the wilderness of Patagonia as a downside for the people who try to civilize it.<\/p>\n

In Falsa Calma, <\/em>wind plays less of a prominent role, but mentioned constantly when\u00a0 related to isolation. The pilot explains that he can constantly hear the wind at night, reflecting the deserted surroundings of his house. Thus, it presents the loneliness caused by living in one of the ghost towns of Patagonia as being a direct result of the landscape and climate. This brings attention to how the wind, a motif that evokes awe inspiring images in a visitor\u2019s mind, changes when seen through the lens of a local.<\/p>\n

Aira is perhaps the one that uses the symbol of the wind to change the image of Patagonia the most. While Patagonia is often seen as a timeless, unchanging land beyond the frontiers of the world, Aira states that \u201cthe end of the world is still part of the world\u201d (Aira, 24), and so treats the region as a place where change is not only possible but constant.\u00a0 The wind, years before the main events of the novel, offers a snowman immortality if it agrees to be \u201cshaped forever, at every instant, by us, the wind” (Aira, 78) The idea of the wind as a force that would perpetually change the landscape goes against Patagonia\u2019s image as a \u201cprimordial, pre-historical space\u201d (Nouzeilles, 36) where change is impossible. This is a metaphor for how Patagonia\u2019s political, cultural and, eventually, touristic relevance has changed over the course of two centuries.<\/p>\n

The authors\u2019 contexts are ingrained in their work: during Exup\u00e9ry\u2019s times, Patagonia was not a center for tourism yet and colonizing or modernising the land was still a major concern, which explains why natural features constantly contrast with the few European towns in sight. When Cristoff wrote Falsa Calma, <\/em>there was already a booming hospitality industry in the region. As such, her decision to portray the less glamorous aspects of Patagonia attempts to inform readers about what they might not have been able to see during their time as tourists. Aira, finally, follows in Borges\u2019s footsteps by using toponyms and general descriptions to imbue Patagonia with a sense of freedom, transformation and opportunities, which could be seen as a response to the vastly different works that take Patagonia as an inspiration.<\/p>\n

The People of Patagonia<\/span><\/h3>\n

Authors such as Jorge Luis Borges have often written about gauchos, the cowboy-like figures that inhabit Argentina\u2019s pampas. These people have been in the collective imagination of both locals and visitors as the inhabitants of Patagonia ever since, especially fueled by classic Argentine works such as Mart\u00edn Fierro, <\/em>developing Patagonia\u2019s image as a male-dominated land. However, these texts show a different side of the people in Patagonia.<\/p>\n

Night Flight<\/em>\u2019s main characters all have French names, such as Rivi\u00e9re and Pellard. Their relationships with the people living in Patagonia\u00b4s town shows a difference in how the narrator sees them. For once, the locals were the only ones ever described as miniature, and Rivi\u00e9re even thinks that \u201cthe little people of these little towns, strolling around their bandstands, might seem to live a placid life yet it had its tragedies\u201d (Exup\u00e9ry, 69). The people living in the town are not only not central to the story the book<\/p>\n

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Exup\u00e9ry during his time in Patagonia. Source: https:\/\/laprensaaustral.cl\/cronica\/antoine-de-saint-exupery-el-principito-en-la-patagonia\/<\/figcaption><\/figure>\n

narrates, but the characters seem to see them as lesser than themselves.\u00a0 Another\u00a0 group\u00a0 not\u00a0 prominently\u00a0 featured\u00a0 in\u00a0 the\u00a0 novel\u00a0 are\u00a0 women.\u00a0 In fact, their inadequacy in Exup\u00e9ry\u2019s Patagonia is expressed by Fabien\u2019s wife, who feels \u201cher presence here misplaced, indecent\u201d (Exup\u00e9ry, 167). Thus, while the characters might not be gauchos, they follow the idea of a male-dominated Patagonia.<\/p>\n

Cristoff, on the other hand, gives women and the \u201clittle people\u201d the spotlight. The structure of the text supports this intention, as in each chapter she focuses on a different group of people living in the Patagonian ghost towns. She tells their stories, from an elementary school reunion to Francisco\u2019s attempt to learn how to fly as a way of avoiding his \u201cpacts, commitments and relationships\u201d (Cristoff, 35). Her descriptions of women are starkly different from Exup\u00e9ry\u2019s, as exemplified when she portrays Leon, a kiosk owner, as passive and contemplative compared to her proactive wife who takes part in demonstrations and protests. Thus, Cristoff\u2019s Patagonia focuses on groups that are traditionally left out of people\u2019s collective Patagonian imagination: locals that are not gauchos and women.<\/p>\n

Aira\u2019s stance is similar to Cristoff\u2019s, using symbols that help emphasize the power dynamics between different groups in Patagonia. While Delia is initially confined to her house and her role as \u201cgossip woman\u201d (Aira, 34) in Pringles, Patagonia enables her to become an adventurer. This is similar to how Victorian women such as Lady Dixie Florence saw Patagonia as a<\/p>\n

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Snowman in Ushuaia. Is he being transformed by the wind? Source: https:\/\/www.pinterest.com\/pin\/329185053984504642\/<\/figcaption><\/figure>\n

way to stop\u00a0 being\u00a0 \u201cdamsels\u00a0 in\u00a0 distress\u00a0 at\u00a0 the\u00a0 mercy\u00a0 of\u00a0 hostile\u00a0 Elements\u201d (Mart\u00edn, 58). Other\u00a0 characters \u00a0also embrace traditionally female symbols, like the snowman wearing the wedding dress that the wind took away from Delia. This challenges the idea of a male-dominated Patagonia. However, duels between men are still present in the form of gambling, which seems to suggest that Aira has taken some elements traditionally related to Patagonia and adapted them to a new context to show Patagonia\u2019s evolution.<\/p>\n

Conclusion<\/span><\/h3>\n

It is inevitable for three texts from vastly different categories to vary in style and specifics. However, the way they portray Patagonia inside their respective genres says a lot about what Patagonia means for each. This, in turn, affects how their contemporary and future readers will form their image of the region. Patagonia is often associated with war and wilderness due to the resistance of native tribes to the brutal displacement caused by the Argentine state. Thus, it is not surprising that the concept of rivalry between civilization and Patagonia would carry on to Exup\u00e9ry\u2019s early XX century novel, especially when treating topics such as the metaphorical conquest of the land. Exup\u00e9ry\u2019s novel is the one closest to Chatwin\u2019s account, published forty years later.<\/p>\n

Aira and Cristoff, both Argentine and closer to the present day, have a starkly different treatment from Exup\u00e9ry. They both deal with the struggles of locals and challenge the male gaze and dominance on the land, but try to subvert the image of Patagonia in different ways. Aira is interested in the literary representation itself, as seen in his highly symbolic treatment of the landscape and the use of the dress and the wind as essential motifs in the narrative that represent both the ever-changing nature of Patagonia and the possibility for women to detach themselves from gender stereotypes in it. On the other hand, Cristoff , being from Patagonia herself, tries to forget the mythical land that has been woven throughout two centuries of narratives altogether and focuses on the real people living in Patagonia, those forgotten even as the interest in the region grows.<\/p>\n

In conclusion, Patagonia has inspired a wide range of authors throughout time. Literary representation is important due to its effect on how people approach a place: people still read Chatwin before making the trip to the South and have a preconceived image of the pampas before even setting foot on them. Aira and Cristoff show that representations of Patagonia are becoming increasingly diverse, when compared to predecessors like Exup\u00e9ry. Consequently, interest in areas of the region previously neglected might increase, even attracting the attention from and to groups that have long been denied a voice in the land at the end of the world.<\/p>\n

Where is Literature?<\/span><\/h3>\n
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Original found at https:\/\/www.davidrumsey.com\/<\/figcaption><\/figure>\n

A map that represents the places in which the characters of the three books explored Patagonia. In pink: Aira’s Delia Siffone. In blue: Exup\u00e9ry’s Fabien. In yellow: Mar\u00eda Sonia Cristoff.<\/p>\n

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<\/h3>\n

Further reading and sources:<\/span><\/h3>\n

 <\/p>\n

Aira, C\u00e9sar. 1994. La costurera y el viento<\/em>. 1. ed. Ficciones (Rosario, Argentina). Rosario [Argentina]: B. Viterbo Editora.<\/p>\n

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Borges, Jorge Luis. 1971. Ficciones<\/em>. El Libro de bolsillo ; 320. Secci\u00f3n: Literatura. Madrid: Alianza Editorial.<\/p>\n

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\u201cBruce\u00a0\u00a0\u00a0\u00a0 Chatwin:\u00a0\u00a0\u00a0\u00a0 la\u00a0\u00a0\u00a0\u00a0 corriente\u00a0\u00a0\u00a0\u00a0 ancestral.\u201d\u00a0\u00a0\u00a0\u00a0 n.d.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Accessed\u00a0\u00a0\u00a0\u00a0 April\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 15,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2020. https:\/\/www.nexos.com.mx\/?p=9423<\/a>.<\/p>\n

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Chatwin, Bruce. 1977. In Patagonia<\/em>. New York: Summit Books.<\/p>\n

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Courtivron, Isabelle de. n.d. \u201cAt Home in the Air.\u201d The New York Times. Accessed April 28,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2020.<\/p>\n

https:\/\/archive.nytimes.com\/www.nytimes.com\/books\/97\/08\/17\/nnp\/17682.html<\/a>.<\/p>\n

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Cristoff, Mar\u00eda Sonia. 2005. Falsa calma : un recorrido por los pueblos fantasma de la Patagonia<\/em>. 1. ed. Cr\u00f3nicas (Buenos Aires, Argentina). Buenos Aires: Seix Barral.<\/p>\n

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Daley, Ben. 2009. \u201cWriting from above: Representations of Landscapes, Places and People in the Works of Antoine de Saint-Exup\u00e9ry.\u201d Journal of Cultural Geography <\/em>26 (2): 127\u201347. https:\/\/doi.org\/10.1080\/08873630902989806<\/a>.<\/p>\n

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Dixie, Lady Florence. 2012. \u201cFrom Across Patagonia.\u201d Review: Literature and Arts of the Americas <\/em>45 (1): 64\u201369. https:\/\/doi.org\/10.1080\/08905762.2012.670460<\/a>.<\/p>\n

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Fontaine Talavera, Arturo. 1999. \u201cBruce Chatwin: La Corriente Ancestral.\u201d Nexos:<\/em> Sociedad, Ciencia, Literatura<\/em>, October 1999. Gale Literature Resource Center.<\/p>\n

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Hasbrouck, Alfred. 1935. \u201cThe Conquest of the Desert.\u201d The Hispanic American Historical Review <\/em>15 (2): 195\u2013228. https:\/\/doi.org\/10.2307\/2506294<\/a>.<\/p>\n

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Livon-Grosman, Ernesto, and Ernesto Livon Grosman. 2001. \u201cLo abierto y lo cerrado: El espacio patag\u00f3nico en la literatura de viaje.\u201d Ciberletras <\/em>5 (January).<\/p>\n

 <\/p>\n

\u201cLos viajes de Saint-Ex\u00fapery.\u201d 2018. viajes.nationalgeographic.com.es. July 31, 2018. https:\/\/viajes.nationalgeographic.com.es\/a\/viajes-saint-Exup\u00e9ry_13018<\/a>.<\/p>\n

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