ABSTRACT
Cervantes’ archive is turned by Borges from a utopian reality forged out of the imaginary to an unbearable one with excessive memory, and Puig raids the archives of patriarchy through a feminine seductive narrator Molina. García Márquez adds a carnivalesque touch to the archive so as to turn it into a new kind of utopia. In his Chronicle of a Death Foretold,1 Miguel de Cervantes Saavedra is feminized and turned into a brothel owner María Alejandrina Cervantes. She is a strong allusion to Rojas’ Celestina, Cervantes’ witch Cañizares in ‘The Dialogue of Dogs’, and the Moorish woman in ‘The Glass Graduate’, all of whom being female destabilizing agents.
