FICCIÓN ESPECULATIVA EN NARRADORES CUBANOS DE LA GENERACIÓN CERO

This dissertation presents an approach to the Cuban speculative fiction created by some of the writers belonging to the group called Generación Cero. The study includes six literary works published between 2006 and 2018. The set of narratives that make up this research articulate the speculative to denounce systems of oppression. These structures promote the visibility of marginalized characters, drawing representations that become metaphors for the annulment of individual freedoms in today's Cuba. In the first chapter I collect the theoretical and historical references that provide the basis for this work, this is achieved in three sections. The first, addresses the demarcation of the speculative fiction concept. The last two cope with the historical, political and social context in which the members of Generation Zero are formed, as well as the theoretical considerations used for the analysis of the narratives. In the second chapter, I explore the works Archivo (2015) by Jorge Enrique Lage and El collapso de la Habanas infinitas (2017) by Erick J. Mota. Both narratives are an allegory to the lack of freedom of Cuban people today and show a critical stance and resistance to the utopian discourse of the Cuban Revolution. In the third chapter, I study two narratives of Cuban cyberpunk, Veredas (2006) by Michael Encinosa Fú and Espejuelos para ver inside (2018) by Maielis González Fernández. The aforementioned written work utilizes hierarchical systems that are sought to establish how the social, technological, ethical and fantasy elements are incorporated in the texts. This is achieved by drawing transgressive representations of civil liberties under the pretext of an apparent greater good for humanity. In the last chapter, I examine the figure of the postmodern monster and hypertextuality as shown in the novel Salomé (2013) by Elaine Vilar Madruga and Chunga Maya (2017) by Alejandro Rojas. In both books, there is an intention to use the figure of the monster as an exorcism against the problems and difficulties that Cuban society faces. In this way, this research adds how these narratives despite being classified as futuristic, dystopic or uchronic, they are a great value to think and reflect on the present. Moreover, these writings allow the cross-examination of the Cuban culture with other imaginative ones. In addition, they represent a different way of carrying out the work of rewriting the national and transnational imaginary.Hispanic Studies, Department o