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Marked: Race, Crime, and Finding Work in an Era of Mass Incarceration (review)

making process of culture requires that scholars examine how individuals, embedded in social groups and social contexts, encounter and engage different cultural artifacts and then engage others with their interpretations. The strength of Gómez-Barris’ work is her first-hand victim perspective on these narratives about Chile’s past. She gives an intimate portrait of her engagement with these works, and especially in the case of Guillermo Núñez with the artist as well. She is self-reflective on her identity as a second-generation Chilean woman living in exile. But this means that the broader public’s engagement with the same narratives is largely missing. How might the perpetrators of violence, their supporters and bystanders react to the same narratives? Commenting on one of the documentaries, she writes that one scene, “...forces the viewer to confront the mother’s trauma, empathize with it, and ask oneself about the human cost of extreme violence...” But a work of art cannot force the viewer to experience anything – even revulsion at extreme levels of violence. The perpetrators of the violence and their supporters, more often than not, remain unmoved and will justify their violent acts and continue to mock their victims. Bystanders will often refuse to be drawn in or feel implicated in what confronts them. Victims, perpetrators and bystanders occupy positions in the state, society and exile, and their narratives and interpretations of the past will probably continue to divide Chile for generations to come. As the author has shown, the scars of violence run deep.