An incapacity to love, both psychological and social, characterizes the novels and short stories written by the Chilean ‘generation of the children’. This article focuses on the novel Sangre en el ojo (2012) in order to examine how Lina Meruane, one of the most notable voices of this generation, represents this incapacity, and, at the same time, searches for remedies by emphasizing the realm of the sensitive. The article analyses Sangre en el ojo first as a romantic novel. A detailed study of the relationship between love and blindness, on which Meruane constructs her novel, reveals that the author writes against a metaphorization of blindness and a disembodiment of love. As such, the article proposes a reading of Sangre en el ojo as a novel of resistance against current social, economic and sentimental norms and argues that attention to the sensitive can be considered a defining element of the generation that grew up during the dictatorship.

Las novelas y los cuentos de la ‘generación de los hijos’ chilena dejan entrever una incapacidad de amar que se manifiesta tanto a nivel psicológico como social. El presente artículo se centra en la novela Sangre en el ojo (2012) para examinar cómo Lina Meruane, una de las voces más llamativas de esa generación, tematiza esta incapacidad y explora maneras de remediarla a través de un énfasis en lo sensible. Se analiza Sangre en el ojo primero como una novela de amor anclada en la tradición gótica. Un estudio pormenorizado de las relaciones entre el amor y la ceguera sobre las cuales se construye la novela muestra que Meruane escribe en contra de las tendencias de metaforizar la ceguera y descorporalizar el amor. A partir de allí, se propone una lectura de Sangre en el ojo como novela resistente contra las normas sociales, económicas y sentimentales de hoy y se argumenta que la atención por lo sensible puede considerarse como un elemento definitorio de la generación que creció durante la dictadura.

Este artigo apresenta uma leitura do conto “Perdoando Deus” (1970 – 1971) que até hoje não foi lido enquanto uma reflexão sobre a Shoah e suas repercussões sobre a identidade judaica. Nossa interpretação sustenta que deve-se fazer uma reavaliação do amplamente divulgado julgamento de que a Shoah está quase inteiramente ausente da obra de Lispector.

This article examines the view of the Brazilian Jewish author Clarice Lispector on the triangular relation between Jewishness, the Shoah and the chosenness of the Jewish people by combining biographical evidence with a close reading of her short story "Perdoando Deus." Through an analysis of allegorical motifs, "Perdoando Deus" emerges as a historical, philosophical, and personal (anti)theological process. As such, this short story, mostly overlooked due to its obscurity, marks a watershed in Lispector's oeuvre in terms of the recognition of her Jewishness-which she defines not as a religion but as an ethnic category and a collectivity of survivors.