Abstract
Signed in masculine, the Guevarist ideal of the new man not only materialized an asymmetry of roles within the leftist movements in Latin America, but also exclusions that, in a broader sense, touched the human multiplicity that somehow adhered to the revolutionary project. This article seeks to investigate the possible bases of Lemebel's critique of this ideal. If, throughout his work, Lemebel returns again and again to the iconography of the 'new man', it is not only to glue 'glitter' to the solitary star of his flag. From the reading of the Manifesto to the burning footprints with which he marks his passage through the extermination camps of Pisagua (without letting go of his heels), his work was a dangerous way of corporealizing cadences, textures and tonalities, relegated 'from the party' for their feminizing potential. Piercing the binary boundaries between masculine and feminine, hard and soft, homeland and death, Lemebel's work unfolds as a defiant onslaught that targets the phallocentric center of its signifiers. Through his critique Lemebel introduces unusual forms of contempt that both interrogate and challenge the local revolutionary imaginary. The heels for the olive green, the nostalgia in the face of oblivion, the brightness against the regime of opacity of the bodies, are part of a subversive proposal that installs luminous lines of escape that tension both sides of the patriarchal trench.