With the arrival of the new millennium and, in particular, more forcefully over the past decade, the Hispanic American novel seems to be entering a new phase of experimentation, deeply conscious of its most notorious traditions and directly connected to the urgency of reflecting (or refracting problematically) the implicitly neocolonial order built around the demands of unlimited circulation of global capital. In fact, after a phase that we might call normalization, the neutralization of difference in the neoliberal enchantment of the 1990s of the last century -which, literarily, finds expression, in the territory, in a robust wave of ”throwback realism’-, the current narrative reappropriates the remnants of the emancipatory discourse of the postcolonial and the narratives of non-mimetic resistance that, spectacularly, had sustained it in Latin America, in order to recontextualize them in the “interesting times” of the contemporary extreme, making them, as it were, mutate toward less reassuring forms. The poetic and political legacy of early magical realism -in its many, embattled local variants, so far removed from the standards of popularization that would later convert the genre into an exoticist consumer delicacy for the Western publishing market-, the ferment of discontinuity that, originally, armed the hand of Alejo Carpentier, Miguel Ángel Asturias, and Arturo Uslar Pietri among others, revives, emblematically blackened, in the weird sensibility that runs, transversally, through the works of the most representative authors of the new canon (Mariana Enriquez, Liliana Colanzi, Juan Cárdenas, Maximiliano Barrientos ), who, by rereading the mestizo construct through the dark filter of Lovecraft and Ligotti, dusting off an indigenist agenda through Fisher’s negative anti-capitalism and Morton’s leftist ecology, in general, applying a further spin to the significant disenfranchisement with which the periphery responds to the demands of ‘understanding’ the center, rediscover that of Latin American culture as a disturbing and expressive site of interruption, where the norm senses its arbitrariness and glimpses the prospect of its collapse. By this route, the mnemoconscious spatialities of a cultural Apocalypse recently entered the fifth centenary of its history become territories of election of a widespread anti-paradigmatic awareness, of a maieutics of precariousness that, for once, reversing the flow of patterns, will be urgent to export: (new) worlds of the end in which the human is called to creatively negotiate with the bogeyman of its own extinction. 

• Fisher, Mark (2018). The weird and the eerie. Lo strano e l’inquietante nel mondo contemporaneo 
• Arguedas, José María (1971). I fiumi profondi, Einaudi: Torino 
• Cornejo Polar, Antonio (1994). “Mestizaje, transculturación, heterogeneidad”, Revista de crítica literaria latinoamericana, n°40, pp. 368-371  
• Colanzi, Liliana (2016). “L’Onda” e “Chaco”, in Nuestro mundo muerto, Eterna Cadencia: Buenos Aires