Patagonia has long been a place romanticized by writers like Bruce Chatwin and Antoine de Saint-Exupéry, creating an adventurous mystique that now even lends its name to a famous outdoor-apparel brand. In False Calm, native María Sonia Cristoff returns to Patagonia after years in Buenos Aires to delve into the lives of its residents living in oil fields and deserted communities. The Patagonia she portrays is far from the idyllic images; it’s a place where one can walk endlessly yet feel stuck.
Cristoff’s encounters with the locals reveal surreal and poignant stories. From Francisco’s struggle with flying an abandoned aircraft to Federico’s loneliness maintaining oil wells, each profile unveils a deep sense of isolation and alienation akin to Joan Didion’s early works. As Cristoff immerses herself in towns like El Caín and Maquinchao, she also reflects on her own experiences and encounters with the haunting landscape.
Through the despair of people like Martina in Las Heras, Cristoff paints a picture of a region marked by tragedy and coping mechanisms. The constant wind, vast sky, and desolate scenery seem to weigh heavily on the inhabitants, leading some to seek escape through destructive behaviors. Unlike J.D. Vance’s attempt to revive the image of Appalachia in Hillbilly Elegy, Cristoff’s depiction of Patagonia is unflinchingly stark, challenging readers to confront the harsh realities obscured by glossy advertisements.
In her exploration of Sandra’s paranoia and the survival strategies in Patagonia, Cristoff offers no false optimism or romanticism. The book forces readers to confront the stark bleakness of life in a place often seen through a superficial lens. Cristoff’s poignant narrative leaves a lasting impression of a community struggling to endure in a harsh and unforgiving environment.
