Introduction: Postmodernism in Steps Under Water by Alicia Kozameh
Postmodernism in “Steps Under Water” is exemplified through Alicia Partnoy’s utilization of fragmented narrative structures and metafictional elements to deconstruct linear storytelling and challenge traditional notions of truth and reality. During the twentieth century, the oppression perpetuated by dictatorships in Latin America generally exerted control over individual bodies, subjecting activists to transformative processes that rendered them objects of the state through mechanisms of fear, discipline, and punitive measures. The state often rationalized such violence under the guise of achieving societal order. For instance, in Argentina, the military dictatorship that governed the country from 1976 to 1983 precipitated a period of civil strife. The pervasive violence that ensued served as the backdrop for a plethora of literary works in Argentina (Diaz 3-5), profoundly impacting the nation’s political, economic, and intellectual landscapes and catalyzing a surge in literary productions that grapple with these realities. These literary endeavors portray regimes that systematically tortured individuals and employed fear as a tool to silence dissenting voices. Notably, female writers played a significant role, not only through active resistance but also by articulating the themes of violence and power within their literary works. These writers defied the oppressive system, subverting social norms and asserting their agency, thereby demonstrating their resilience, creativity, and fortitude in addressing the challenges of the era. In the mid-twentieth century, women writers emerged as prominent figures within a burgeoning tradition of female-authored literature, which delineated their own experiences as political activists.
Trauma and Postmodernism in Steps Under Water
In the 1980s, Alicia Kozameh embarked on a literary endeavor, fictionalizing her memories to portray the harrowing experiences of women imprisoned during the Argentine “Dirty War,” a poignant example being her work “Steps under Water,” which firmly establishes her presence within the realm of postmodern literature. Through this novel, Kozameh adopts a self-reflexive stance, not only by acknowledging the reader’s encounter with her own authorial voice within the narrative but also by crafting a historiographic metafictional narrative. This approach echoes the sentiments articulated by Linda Hutcheon, a seminal figure in postmodern literature, in her seminal work “Historiographic Metafiction: Parody And The Intertextuality Of History.” Hutcheon elucidates the concept, stating that historiographic metafiction strives to position itself within historical discourse while retaining its autonomy as a work of fiction. This form of fiction operates as a form of ironic parody, imbuing both historical and fictional intertexts with parallel significance within the reimagined textual landscape. Kozameh’s “Steps under Water” thus serves as a poignant reevaluation of the history witnessed by herself and countless other women in Argentina, offering a powerful testament to the transformative potential of literature in reclaiming and reinterpreting collective narratives.
Metafiction and Postmodernism in Steps Under Water
Similar to historiographic metafiction, Kozameh employs fragmentation as a quintessential postmodern narrative technique in her work. Throughout “Steps under Water,” the narrative structure undergoes a continuous shift, transitioning from first-person to third-person narration, devoid of a linear progression of events, thereby leaving the reader uncertain about the temporal context of the unfolding action. Notably, Kozameh chooses to commence the novel with its concluding scene, and subsequently concludes with the same moment, bookending the narrative with chapters titled “A Way Back.” This deliberate fragmentation serves as a poignant reflection of the fragmented nature of memory, as experienced by a woman recalling a profoundly traumatic experience. Indeed, as Alicia Partnoy asserts, the use of fragmentation as a narrative device finds resonance particularly among women writers who have endured repression, offering a powerful means of conveying the fragmented and disjointed nature of lived experiences shaped by oppression and trauma.
The repression endured by Kozameh during her three-year ordeal as a political prisoner of the Argentine “dirty war” finds poignant reflection in her main character, Sara, who similarly experiences imprisonment and torture. Kozameh deliberately chooses a female protagonist, Sara, with the intention of epitomizing the collective experience of women throughout Argentina who underwent similar ordeals, including herself. In “Steps under Water,” Kozameh vividly portrays the grim reality of this dark period in Argentine history, illustrating how fear, murder, torture, abduction, and imprisonment were wielded as political tools by the state to suppress dissenting voices.
The novel‘s second chapter starkly depicts Sara’s abduction by police officers who employ fear as a means of coercion and torture. Kozameh poignantly captures Sara’s anguish as she grapples with the uncertainty surrounding her husband’s fate, narrating, “They forced their way in and asked for Hugo. They laughed. She didn’t answer. We know. We had to kill him” (10). Sara’s tormentors exploit her vulnerability, subjecting her to psychological and physical torture in a bid to extract obedience and coerce her into divulging her allegiances. Kozameh masterfully delineates the intersection of physical and psychological pain endured by Sara, highlighting the profound psychological trauma inflicted upon her alongside the physical torment. The narrative also delves into the gendered dimensions of torture, underscoring how the female body becomes a locus of control and domination. Through Adriana’s voice, Kozameh emphasizes the brutality inflicted upon women, with Adriana inquiring, “Did they work you over much? They really let you all have it” (23), further illuminating the systematic violence perpetrated against women as a means of asserting power and control.
Female Body and Postmodernism in Steps Under Water
In “Steps under Water,” Kozameh deftly explores the themes of the female body, discourse, and power in Latin America, utilizing vivid scenes to depict the oppressive tactics employed by policemen to torture the women held captive in the basement. Additionally, Kozameh makes a deliberate reference to Jorge Amado’s novel “Teresa Batista cansada de guerra” (Home from the Wars), a work by a Brazilian writer renowned for its exploration of oppression against the female body. This intertextual reference serves as a deliberate choice, highlighting the significance of literature in providing solace and resistance for the women in the basement (Kozameh 35). The shared experiences of oppression depicted in both novels resonate deeply with Sara’s narrative and the plight of the other incarcerated women.
Kozameh’s portrayal of pain is distinctly gendered, conveyed through narratives that articulate the social, political, and economic transformations experienced during the military dictatorship. Through a collective voice that transcends individual perspectives, the women in the basement oscillate between personal and collective narratives, contributing to a broader discourse that challenges the dominant canon. This linguistic agency becomes a potent tool for empowerment as women become politicized and actively engage in discourse that challenges existing power structures.
The actions of the women in the basement, whether it be concealing information from the policemen or finding moments of respite, resemble a choreographed performance, akin to a play where each participant intuitively knows their role and timing. This collective choreography serves as a manifestation of women’s empowerment through embodied language, affirming their agency and resilience in the face of oppression. “Steps under Water” thus emerges as a compelling testament to women’s strength and solidarity in navigating the turbulent waters of dictatorship and oppression.
Body Language and Postmodernism in Steps Under Water
In “Steps under Water,” Alicia Kozameh employs not only body language but also testimony as crucial tools to document her experiences as a living witness to oppression. Through the act of remembering, Kozameh engages in a process of individual vindication, affirming her continued existence in the face of adversity. As Benay Blend contends, Kozameh’s recollection of her experiences serves as a means of asserting ownership over her identity, reclaiming agency, and resisting the forces that seek to subjugate her (143) (78). Kozameh’s moral imperative as a witness is rooted in her rejection of the oppression she endured during her imprisonment and her determination to confront those who seek to strip her of her freedom. She advocates for women to share their stories through their own characters and language, thereby asserting their presence in a society that has historically silenced their voices and suppressed their rights to freedom and human dignity. For Kozameh, the dominant discourse transcends mere patriarchy; it encompasses the pervasive influence of a military dictatorship that systematically denies individuals their rights to speak out and challenge the prevailing narrative. Through her testimony and advocacy, Kozameh endeavors to dismantle this hegemonic discourse and pave the way for a more inclusive and equitable society.
Conclusion: Postmodernism in Steps Under Water
In addition to embodying various aspects of postmodernism, “Steps under Water” can also be interpreted as a feminist novel, addressing themes of repression against women and the pervasive influence of a phallocentric society. The portrayal of Sara and her fellow “compañeras” in prison serves as a collective representation of the countless women who endured violence and torture under oppressive regimes. Through their collective struggle, Kozameh highlights the women’s yearning for freedom to assert their identities, express their voices, and uphold their beliefs.
Within the confines of the prison, Kozameh transforms the space of torture and death into a sanctuary for culture, wherein Sara and her companions defiantly resist the attempts of their oppressors to silence and dominate them. Through various forms of artistic expression such as plays, workshops, knitting, and drawing, the incarcerated women reclaim agency over their lives and maintain their language as a form of resistance. These creative endeavors not only serve as a means of survival but also as a testament to the women’s resilience and determination to assert their humanity in the face of dehumanizing conditions.
In “Steps under Water,” Kozameh portrays the incarcerated women as creators of their own lives, albeit within the constraints of their imprisonment. Despite the challenges they face, they forge connections, find solace in each other’s company, and strive to keep their spirits alive through acts of collective resistance. Ultimately, the novel serves as a powerful testament to the strength and solidarity of women in the face of oppression, offering a poignant exploration of feminist themes and the enduring quest for freedom and self-expression.
Works Cited: Postmodernism in Steps Under Water
- Kozameh, Alicia. “Alicia Kozameh.” Contemporary Authors Online. Detroit: Gale, 2008. Literature Resource Center. Web. 27 Aug. 2023.
- Blend, Benay. “The Writer as Witness: Latin American Jewish Women’s Testimonio In The Works Of Marjorie Agosín, Sonia Guralnik, Alicia Kozameh And Alicia Partnoy.” Women in Judaism: A Multidisciplinary Journal 4.2 (2007): MLA International Bibliography. Web. 28 Sept. 2022.
- Diaz, Gwendolyen. Women and Power in Argentine Literature. Austin: University of Texas Press, 2007. Print. pp. 314-315.
- Hutcheon, Linda. A Poetic of Postmodernism. New York: Routledge, 1988. Print.
- Hutcheon, Linda. “Historiographic Metafiction: Parody And The Intertextuality Of History.” Intertextuality and Contemporary American Fiction. 3-32. Baltimore: Johns Hopkins UP, 1989. MLA International Bibliography. Web. 3 Oct. 2022.
- Partnoy, Alicia. “Steps Under Water.” The Women’s Review of Books Nov. 1997: 26. Literature Resource Center. Web. 27 Aug. 2022.
