Abstract Claudia Salazar Jiménez's La sangre de la aurora (2013) narrates events from Peru's internal armed conflict in an experimental language featuring haunting repetitions and disorienting passages that forego punctuation. While critics have highlighted the text's disorder, I demonstrate that it draws on Indigenous weaving practices and patterns that root Salazar's novel in an Andean female art form. Salazar's woven text centers on women's experiences and reveals the symmetry that underlies the genocidal actions of the Peruvian armed forces and Sendero Luminoso, including rape. Conversely, weaving functions as a redemptive act, a figure for women's abilities to remake their lives following trauma.
Karen Spira (Sun,) studied this question.