This article centralizes the work of Central American US diasporic writers and artists within memory studies while expanding on the emergent ways of seeing and being for US-born or raised Central Americans. I posit that the three cultural makers portrayed in this essay—William Archila (poet), Dalila Paola Mendez (artist), and Cristina Henríquez (novelist)—represent a tendency of writers and artists to embark on projects that signify directly onto Central America through a lens of the imagined from within the United States. Archila’s The Art of Exile (2009) explores the persistence of generational trauma and the deep ambivalence carried within migrant Salvadorans who arrived in the United States as youths during the Salvadoran Civil War. Mendez’s painting of Tayte Feliciano Ama, painted in the style of La Palma, reimagines Los Angeles to recuperate the indigenous leader of the 1930s and the Salvadoran folk art movement. Henríquez’ novel The World in Half (2009) focuses on Panama; the protagonist must work through erasures and denials to recuperate the memories of her North American mother and Panamanian father to reconcile with her own Panamanian American identity. The cultural memory work of these artists and writers contributes to diverse constructions of Latinidad in the United States through counterpoetics, countervisuals, and counternarratives.

中文翻译：

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美国中美洲人的文化记忆和制作

本文将中美洲美国侨民作家和艺术家的作品集中在记忆研究中，同时扩展了美国出生或长大的中美洲人看待和存在的新兴方式。我认为本文中描绘的三位文化创造者——威廉·阿奇拉（诗人）、达丽拉·保拉·门德斯（艺术家）和克里斯蒂娜·亨里克斯（小说家）——代表了作家和艺术家开始从事直接指向中美洲的项目的趋势，通过从美国内部想象的镜头。Archila 的《流放的艺术》（2009 年）探讨了世代创伤的持续存在以及萨尔瓦多内战期间作为年轻人抵达美国的移民萨尔瓦多人内心深处的矛盾心理。Mendez 的 Tayte Feliciano Ama 画作，以拉帕尔马风格绘制，重新构想洛杉矶以恢复 1930 年代和萨尔瓦多民间艺术运动的土著领袖。Henríquez 的小说 The World in half (2009) 聚焦于巴拿马；主角必须通过抹去和否认来恢复她北美母亲和巴拿马父亲的记忆，以与她自己的巴拿马裔美国人身份相协调。这些艺术家和作家的文化记忆作品通过反诗学、反视觉和反叙事，为美国拉丁语的多元化建设做出了贡献。主角必须通过抹去和否认来恢复她北美母亲和巴拿马父亲的记忆，以与她自己的巴拿马裔美国人身份相协调。这些艺术家和作家的文化记忆作品通过反诗学、反视觉和反叙事，为美国拉丁语的多元化建设做出了贡献。主角必须通过抹去和否认来恢复她北美母亲和巴拿马父亲的记忆，以与她自己的巴拿马裔美国人身份相协调。这些艺术家和作家的文化记忆作品通过反诗学、反视觉和反叙事，为美国拉丁美洲的多样化建设做出了贡献。