Abstract
This article addresses three of Edmundo Paz Soldán's novels, Sueños digitales (2000), El delirio de Turing (2003), and Palacio Quemado (2006), to argue that they dismantle the archive, regarded by Roberto González Echevarría to be the epistemological cornerstone of Latin-American literature. These texts embrace an aesthetics of homeless writing which, rejecting the archive's legacy, expresses itself through a grammar immanent in the present and, hence, shorn of all prior conceptual frameworks. The essay further asserts that in these novels the past, the public and the private spheres and the body operate as containments that reinforce the archive's legacy. Accordingly, Paz Soldán's narratives work towards disencumbering writing from the confines of these three 'archival' paradigms in order to project homeless writing as the ebb and rise of 'pirate utopias' that constantly allude to a future community wherein any discursive home is chipped away even while it is being traced.