Tengo miedo torero, by Pedro Lemebel: rupture and testimony

Abstract

This article sets Pedro Lemebel's Tengo miedo torero in minor literature, since there is a ventriloquist voice that disguises itself throughout the story, makes a confession, splits up, to construct an individual who constantly deterritorializes language in order to impose his difference, a third world to which this individual belongs. In this shifting from standard language to gay language, the author seeks to provoke, to slap bourgeois morality and its stereotypes in the face, to make room for half-casts, outcasts and those whose face and voice do not match their body.