Fantasmas: Entre

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.

: 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 Entre Fantasmas

: 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. In the context of Valeria Luiselli's novel Los

: By placing the narrator "among ghosts," Luiselli suggests that memory is not a linear history but a spatial experience where the past and present occupy the same room. The characters are not haunted by spirits, but by the echoes of their own lives and the literary figures they obsess over. Landscapes of the Disappeared: Anadeli Bencomo Here, being "among ghosts" is a radical act

: 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.

Beyond specific titles, "entre fantasmas" often refers to the liminal nature of disappearance and historical memory in Argentina and Spain.

: Bencomo argues that the chronicler (the writer) acts as a witness who must navigate a reality populated by "ghosts"—those who have been erased by violence or political corruption.