Shattered Voices
Pennsylvania Studies in Human Rights
Bert B. Lockwood, Jr., Series Editor
A complete list of books in the series is available from the publisher.
Shattered Voices
Language, Violence, and the Work of Truth Commissions
Teresa Godwin Phelps
University of Pennsylvania Press
Philadelphia
Copyright © 2004 University of Pennsylvania Press
All rights reserved
Printed in the United States of America on acid-free paper
10 9 8 7 6 5 4 3 2 1
Published by
University of Pennsylvania Press
Philadelphia, Pennsylvania 19104–4011
Library of Congress Cataloging-in-Publication Data
Phelps, Teresa Godwin.
Shattered voices : language, violence, and the work of truth commissions / Teresa Godwin Phelps.
p. cm.—(Pennsylvania studies in human rights)
ISBN 0-8122-3797-8 (alk. paper)
Includes bibliographical references and index.
1. Truth commissions. 2. Human rights. 3. Reconciliation. 4. Governmental investigations. I. Title. II. Series
JC580 .P48 2004
| 323.4′9—dc22 | 2004041498 |
For Bill
Phelps, Teresa Godwin.
Contents
1. The Demise of Paulina’s Good: From Personal Revenge to State Punishment
3. Language, Violence, and Oppression
7. The Truth Must Dazzle Gradually
Prologue for Paulina
In the winter of 1992 in London, I attended one of the first performances in English of Death and the Maiden, a play by Chilean writer Ariel Dorfman. Juliet Stevenson’s brilliant depiction of Paulina Salas presented a transfixed audience with a compelling question: what happens when a new and tenuous democracy, because of political necessity, turns its back on some of the victims of the regime it has replaced? Paulina is just such a victim, and the play provides a troubling answer.
The play opens when Gerardo, Paulina’s husband, returns very late to the isolated house he shares with Paulina. He is late because he had a flat tire and was rescued and driven home by a considerate stranger, Dr. Roberto Miranda. Paulina hears only voices outside as she waits inside the darkened house, clutching a gun and “rolled into a foetus-like position.”1 Gerardo, a lawyer, is returning from a meeting with the country’s president, the most “important meeting of my whole life,”2 in which he has been named head of a commission that will investigate some crimes committed by the recently displaced military dictatorship. The initial dialogue between Paulina and Gerardo reveals that Paulina’s response to the voices outside was typical: she has frequent breakdowns resulting from her treatment when she, as an activist student fifteen years in the past, was kidnapped and tortured. Rather than pleasing her, however, Gerardo’s appointment to head the commission further disturbs her:
| Paulina: | This Commission you’re named to. Doesn’t it only investigate cases that ended in death? |
| Gerardo: | It’s appointed to investigate human rights’ violations that ended in death or the presumption of death, yes. |
| Paulina: | Only the most serious cases? |
| Gerardo: | The idea is that if we can cast light on the worst crimes, other abuses will come to light. |
| Paulina: | Only the most serious? |
| Gerardo: | Those beyond redemption. |
| Paulina: | Only those beyond redemption, huh? |
| Gerardo: | I don’t like to talk about this, Paulina. |
| Paulina: | I don’t like to talk about it either.3 |
Paulina’s fragile emotional state is thrown into turmoil by this official pronouncement in which her husband is complicitous: her kidnapping and torture will not be investigated because they are not considered to be among the “most serious” crimes committed during the dictatorship. For all official purposes, her pain and humiliation did not happen and she is forced
