<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0188-2546</journal-id>
<journal-title><![CDATA[Literatura mexicana]]></journal-title>
<abbrev-journal-title><![CDATA[Lit. mex]]></abbrev-journal-title>
<issn>0188-2546</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-25462025000200153</article-id>
<article-id pub-id-type="doi">10.19130/iifl.litmex/36.2.2025/001wx254107s67</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Contrabando (2008) de Víctor Hugo Rascón Banda. Una autoficción postestimonial]]></article-title>
<article-title xml:lang="en"><![CDATA[Contrabando (2008) by Víctor Hugo Rascón Banda as a Post-testimonial Autofiction]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Vanden Berghe]]></surname>
<given-names><![CDATA[Kristine]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alvarez Hernandez]]></surname>
<given-names><![CDATA[Emma]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Aff">
<institution><![CDATA[,Universidad de Lieja  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<aff id="Af1">
<institution><![CDATA[,Universidad de Lieja  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2025</year>
</pub-date>
<volume>36</volume>
<numero>2</numero>
<fpage>153</fpage>
<lpage>173</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-25462025000200153&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-25462025000200153&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-25462025000200153&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: En este artículo leemos Contrabando (2008) de Víctor Hugo Rascón Banda como un ejemplo temprano de una modalidad genérica que proponemos denominar &#8216;autoficción postestimonial&#8217;, para designar aquellos textos que combinan las convicciones y los propósitos ideológicos del testimonio con la ambigüedad enunciativa propia de la autoficción. Demostraremos que el texto, tradicionalmente leído como narconovela, contiene también rasgos propios de la autoficción y del testimonio. Los cuatro apartados que estructuran este ensayo destacarán tanto los elementos que aproximan el texto a la autoficción -su ambigüedad entre ficción y referencialidad y su sofisticación formal- como aquellos que lo vinculan con el testimonio -su perspectiva colectiva, subalterna y antihegemónica-. Asimismo, se prestará especial atención a Huguito, el autor-narrador-protagonista construido por Rascón Banda, cuya representación oscila entre, por un lado, el autorretrato negativo y denigratorio característico de las autoficciones contemporáneas, y, por otro lado, la figura del letrado comprometido con el pueblo sufriente, más cercana al ethos del editor de testimonios.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: In this article, we read Contrabando (2008) by Víctor Hugo Rascón Banda as an early example of a generic mode that we propose to call &#8216;post-testimonial autofiction&#8217;, in order to designate texts that combine the ideological convictions and aims of testimonial literature with the enunciative ambiguity characteristic of autofiction. We will demonstrate that the text, traditionally read as a narco-novel, also contains typical characteristics of autofiction and testimony. The four section that structure this essay will highlight both the elements that bring the text closer to autofiction - its ambiguity between fiction and referentiality and its formal sophistication - and those that connect it to testimonial writing - its collective, subaltern and antihegemonic perspective -. Special attention will also be paid to Huguito, the author-narrator-protagonist constructed by Rascón Banda, whose representation oscillates between, on the one hand, the negative and denigrating self-portrait typical of contemporary autofictions, and, on the other hand, the figure of the writer committed to the suffering people, more akin to the ethos of the editor of testimonies.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[autoficción]]></kwd>
<kwd lng="es"><![CDATA[testimonio]]></kwd>
<kwd lng="es"><![CDATA[narconovela]]></kwd>
<kwd lng="es"><![CDATA[compromiso literario]]></kwd>
<kwd lng="es"><![CDATA[Víctor Hugo Rascón Banda]]></kwd>
<kwd lng="es"><![CDATA[narrativa mexicana contemporánea]]></kwd>
<kwd lng="en"><![CDATA[Autofiction]]></kwd>
<kwd lng="en"><![CDATA[Testimony]]></kwd>
<kwd lng="en"><![CDATA[Narconovel]]></kwd>
<kwd lng="en"><![CDATA[Committed Literature]]></kwd>
<kwd lng="en"><![CDATA[Víctor Hugo Rascón Banda]]></kwd>
<kwd lng="en"><![CDATA[Contemporary Mexican Narrative]]></kwd>
</kwd-group>
</article-meta>
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