I began this book by claiming that Ariel Dorfman’s work is dedicated to
breaking rules. Over the course of this text I have shown how Dorfman’s
writing and other creative projects attempt to break conventional forms of
cultural communication. Unwilling to conceive of art and politics as separate
spheres of activity, Dorfman has always created an engaged art. But contrary to
the assumption that political art must be propaganda, Dorfman’s art is highly
experimental and aesthetically complex.
To a certain extent this approach is a consequence of Dorfman’s historical
and social experiences. Throughout this book I have tried to link Dorfman’s
creative e√orts to his sociopolitical context. Responding to the Latin American
revolutionary movements of the 1960s, accompanied as these were with the
extraordinary artistic innovations of the boom writers, the New Latin Ameri-
can cinema, and the ‘‘boom’’ of the testimonial genre, writers from Dorfman’s
generation often created literature that oscillated among the highly intellectual
aesthetics of the boom writers, the critique of media culture of Latin American
cinema, and the direct form of political denunciation found in testimonio.
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