El niño criminal

by Jean Genet, Irene Antó (Traductor)

Los dos textos recogidos en este volumen, «El niño criminal» y «Fragmentos&», constituyen dos de las propuestas más radicalmente antisociales de la obra de Jean Genet: ladrón, vagabundo, prostituto y uno de los escritores más reconocidos y polémicos de la literatura francesa del siglo XX. Escritos durante un periodo de crisis del autor originado por su rápido reconocimiento como gran figura literaria, ambos textos se enfrentan a la asimilación de su obra por parte de los intelectuales franceses, al tiempo que intentan renovar el gesto inicial de rechazo y lucha por el que Genet comenzó a escribir. Para ello, Genet se entrega, de manera más explícita, poética y depurada que nunca, a la comprensión de los dos temas que mayor peso han tenido en toda su obra: el crimen y la homosexualidad. Así, en «El niño criminal», nos mostrará el mundo de las colonias penitenciarias para menores, defendiendo a los niños que son recluidos allí y cantando la fuerza moral de su gesto de rebeldía ante la sociedad. Y en «Fragmentos&», Genet presenta su visión más amarga de la homosexualidad, desarrollándola hasta sus últimas consecuencias y haciendo evidente el modo en que ésta influye y determina su vida y su literatura.

Genres: Essays, Nonfiction, France, Philosophy, Queer, 20th Century, Ebooks

96 pages, Paperback

First published January 1, 1949

About the author

Jean Genet was a French novelist, playwright, poet, essayist, and political activist. In his early life he was a vagabond and petty criminal, but he later became a writer and playwright. His work, much of it considered scandalous when it first appeared, is now placed among the classics of modern literature and has been translated and performed throughout the world.

Reviews

[Tosh · Rating 5 out of 5]

Those who write and look up to other writers (as a writer should, by the way), I have to imagine Jean Genet is very much 'it.' As a teenager and a young man in his twenties, I greatly admired Yukio Mishima and Genet. In no fashion was I going to idolize Robert Benchley (that happened in my 50s) or any writer that appeared on the New York Times Bestseller List. Genet is a criminal. And a proud criminal on top of that. In our world now, criminal writers are looked down upon. As you gather, a writer has to be, at the very least, a morally upstanding citizen. Genet is bad-ass. But a bad-ass that can write about his world in such delicious language. One of the great presses in the English language is the New York Review of Books (NYRB), and their edition of Genet's "The Criminal Child: Selected Essays is a small and remarkable book. The title piece is regarding the nature of the French reform-school system, and how much Genet preferred the kiddie-prison of his youth. Also, his essays/commentary on the visual art of Alberto Giacometti and Leonor Fini is superb. Genet can connect to an artist like a hand attached to an arm.

[od1_40reads · Rating 5 out of 5]

Monster of French literature, proud convicted criminal, queer icon, Jean Genet is officially one of literature’s baddest boys. The strength of his work gained him the support of Jean Cocteau, Jean-Paul Sartre and Simone de Beauvoir, whose advocacy earned him a presidential pardon in 1948. Whilst March ‘24 has been a turbulent month for my reading, it will certainly be notable as the month I started tackling Genet.

This latest read, ‘The Criminal Child’, is somewhat of a rare treat in that it offers the first English translation of a key early work and other rare essays by Genet. In 1949 Radiodiffusion France commissioned Genet to write and present for radio a piece about his experiences as a juvenile delinquent, expecting some kind of exposé on the horrors the French criminal-justice system for minors; they got quite the opposite. ‘The Criminal Child’ is a beautifully written romantic paean to (as Genet sees it) the bravery, heroism and beauty of child criminals. Subsequently it was never aired.

Also a standout piece in this collection is an English translation of the text for Genet’s book on the work of Alberto Giacometti. I was recently told about this book, but found it was only available in French (and for £100s of pounds). So I was pretty excited to find this English translation of the text.

There are also a few letters of note Genet wrote, including to the surrealist painter Leonor Fini, Jean Cocteau, and to Jean-Jacques Pauvert, famously the publisher of the Marquis de Sade, and also Genet’s play Les Bonnes (The Maids).

This is definitely a niche publication I would say, for anyone seriously interested in Jean Genet, or indeed any of the artists mentioned above. I would certainly now include myself in the former, and so found this excellent book to be a gift.

[Nikolas Koutsodontis · Rating 4 out of 5]

To 1949 ο Ζαν Ζενε επρόκειτο να διαβάσει σε μια ραδιοφωνική εκπομπή το κείμενο που έμελε να γίνει "Το παιδί εγκληματίας". Σκοπός του ήταν, όπως και στο "Ημερολόγιο ενός κλέφτη", ένας και τον ομολογεί ρητά:

"Οφείλω να αποκαλύψω το μυστήριο των κάτεργων για παιδιά". Τα κάτεργα γενικά και τη ζωή των κυνηγημένων και απόκληρων γενικά.

Ο κόσμος του Ζενέ είναι φυσικά αυτός του Κακού, του εγκλήματος, του βίαιου ανδρισμού και βέβαια του ηρωισμού που συνιστά το εγκλημα ως:

"το μέσο με το οποίο ερχόμαστε σε αντιπαράθεση με την τόσο μεγάλη ηθική και φυσική δύναμη" 41

Εδώ είναι και η αναρχική στάση του Ζενέ. Το Κακό που εκπροσωπεί το έγκλημα είναι η επαναστατικότητα στον καθωσπρεπισμό της νομοταγούς κοινωνίας των ετεροφυλόφιλων οικογενειαρχών ανθρώπων της πεζής ζωής χωρίς περιπέτεια και χωρίς θάρρος.

Αυτή η επανατατικότητα, η βίαιη άρνηση της αστικής κοινωνίας, είναι και το σπουδαίο στον Ζενέ, ώστε να αναρωτιέται το κάθένα άτομο εάν και πόσο θα πονα να παρουσιάζει τα πράγματα στην αντίθετη εκδοχή τους από εκείνη που τα έζησε, για να πετύχει την ευμένεια, να μην δυσαρεστήσει, για να ενσωματωθεί και να λογοκριθεί τελικά.

Η πολιτική σημασία του περιθωριακού Ζενέ είναι σημαντική. Αυτό το "Θάρρος να έρθετε σε ρήξη με την παντοδυναμία του κόσμου" 33 μέσω του εγκλήματος δίνει μια παράξενη ώθηση. Γιατι έγκλημα για το Κράτος και την εξουσία κάποτε κάποτε είναι και η πολιτική δράση.

"Ανεχτείτε λοιπόν έναν ποιητή, που είναι επίσης κι εχθρός, να σας απευθύνεται ως ποιητής και ως εχθρός" 32

Και αυτό κάνει ο Ζενέ, ο εκφραστής της κόλασης της φυλακής και του κατατρεξίματος. Ωθεί ως τα σκοτεινότερα άκρα τα όρια μας.

[Vassiliki Dass · Rating 3 out of 5]

3.5*
Η συνολική έκδοση και η μετάφραση είναι εξαιρετικές. Επίσης για μένα προσωπικά μεγαλύτερο ενδιαφέρον παρουσιάζουν οι διευκρινίσεις και οι σημειώσεις που παρέχει η παρούσα έκδοση σχετικά με το κείμενο και τις τρεις διαφορετικές εκδόσεις του στην Γαλλία, οι συνθήκες κατά τις οποίες δεν αναγνώστηκε τελικά σε ραδιοφωνική εκπομπή όπως προοριζόταν αλλά εκδόθηκε, παρά το ίδιο το κείμενο. Δεν το λέω αποτρεπτικά, είναι απλά θέμα γούστου

[Nate D · Rating 3 out of 5]

Genet, in a canceled radio appearance, was to speak in support of child criminality, crime, and, to the degree that it served as the crucible in which children became hardened anti-societals, the youth penitentiary / reformatory system. But, yeah, canceled, obviously. And then never translated into English until this great compact pirate (criminal) edition, with a good contextual essay. Thinking of Todd Haynes' adaptation of Genet in Poison now.

[yarrow · Rating 5 out of 5]

I was extremely excited to finally read this. People who enjoyed "Miracle of the Rose" will definitely recognize recurring themes. This is Genet at his most iconoclastic: refusing the role that the Left and literary establishment would put him in, disrupting progressive teleologies (about himself, about society), and laying out his magical system - instructions for his own initiatory mysteries.

[ΠανωςΚ · Rating 3 out of 5]

Όπως έχει επισημανθεί και απ' άλλους αναγνώστες του, το πιο ενδιαφέρον αυτού του βιβλίου είναι οτιδήποτε άλλο πέρα από το κείμενο αυτό καθαυτό. Ο συγγραφέας, ο βίος του, η πρόθεση που είχε γράφοντας αυτό το κείμενο, το παρασκήνιο με τη λογοκρισία, οι υποσημειώσεις, ο πρόλογος και η σημείωση στο τέλος είναι πάρα πολύ ενδιαφέροντα. Το ίδιο το ολιγοσέλιδο κείμενο, εμένα τουλάχιστον, δεν μου 'πε πολλά. Κακώς ίσως.

[0 · Rating 4 out of 5]

"As for me, I have chosen: I will be on the side of crime. And I will help the children, not to win back access to your houses, your factories, your schools, your laws, and sacraments, but to destroy them."

[Josh Doughty · Rating 4 out of 5]

Haven’t done much research on this guy. Seems pretty punk before punk.

Without any research on these essays (The Criminal Child and Fragments), the prose will get you by alone.

Otherwise, the reader will have to rely on further research on these artists he has been fortunate to bump into. Currently obsessed with Leonor Fini and am surprised the social media has not caught on to her greatness. Learning about Jean Cocteau, Jean-Jacques Pauvert, and Alberto Giacometti has been nourishing(?).

The standout essay is the final one called The Tightrope Walker.

Again, without diving further, you’re really doing yourselves a disservice.

I will pick up a fiction of his by chance secondhand, like he did with so so many people.

[Brian O'Connell · Rating 4 out of 5]

(I read the paperback NYRB edition, but as of right now this seems to be the only Goodreads listing.)

My first encounter with Genet: perhaps not the ideal entry, but a fascinating one nonetheless. I’m not on board with some of the ideas—not that he would care—but the writing is always beautiful (if sometimes baffling) and the atmosphere incredibly evocative. The titular essay and some others in the book are characteristic of Genet’s infamously transgressive qualities, but it isn’t all decadence and doom. My favorite essays in the book, “’adame Miroir”, “The Studio of Alberto Giacometti”, and “The Tightrope Walker” are truly potent pieces about art, meaning, and above all Genet’s conception of “solitude”: not things that I’m usually prone to reading about, yet they’re rendered utterly compelling when Genet writes about them. And some of the sentences/passages are just knock-you-over the head gorgeous.

Lacking a much-needed introduction and other forms of context, but overall a compelling window into a peculiar psyche. I definitely want to probe into Genet’s more central works.

[javier fernández · Rating 5 out of 5]

Soy fan

[Μαρία Γεωργιάδου · Rating 3 out of 5]

Μου θύμισε ένα κείμενο που είχα χρόνια να ανακαλέσω - την Ιστορία της τρέλας του Φουκώ. It's a yes.

[Iván · Rating 5 out of 5]

"Locas, nuestra moral era una estética"

Mira, MIRA, yo amo a este hombre. Me ha encantado, breve pero buen recuerdo. Este reclamo que hace de la marginalidad, de cómo se debe a cantar a todo lo que queda en los márgenes, de cómo la estética hace de su moral un universal, guau. Me quito el sombrero.

[Ben Gordon · Rating 3 out of 5]

“My words fall in emptiness and darkness. And yet, if only for my own sake, I must accuse the accusers one more time.”

Poet Jean Genet spit so hard they gave him a presidential pardon from a life sentence. Biden needs to do the same for the Jean Genet of modern day, Young Thug.

[Niklas Pivic · Rating 3 out of 5]

To myself, Jean Genet has always provided much frustration and heartache; his language and prosaic style are both hard to read and very touching when he hits the mark. To me, that’s the gist of his writing: the very best is great, and the rest ranges from good to bad.

These essays have not been available in English translation until now.

I won’t make any recommendations to you. I haven’t been talking to the educators, but to the criminals. And I don’t want to invent any new plan for society to protect them. I trust society: it knows, in and of itself, how to ward off the amiable danger that’s a criminal child. These children are the ones I’m talking to. I ask them never to feel shame at what they’re doing, to keep intact the rebelliousness that has made them so beautiful. I would hope that there was no cure for heroism. But, if there are some listeners who haven’t yet switched to another station, make sure they know that they have to live with their shame, the disgrace of being good souls. That they swear to be bastards all the way through. They’ll be cruel to sharpen the cruelty gleaming in these children.

Genet is not one to try and proselytize readers but merely let them know what he thinks, which is often a roller-coaster ride of an experience.

The essays after the first are the most interesting to me. Genet expands theories about almost everything in a beat-poet type of fashion:

From what is the fabled camellia protecting you? Steam is worth nothing to your delicate, flowery bronchial tubes. Feet bare on the tiles, dressed in a terrycloth towel, in the condensation that, along with shame, pushes you back and cuts you off, you could have offered your golden rump. Rump presented to old men’s dicks. Your inner collapse held you back at the door. What a dream for your pride, you, the most desired one—without knowing the ones in Rome, I watch you in the Turkish baths where you thought of prostituting yourself—waited for, offered, conqueror, infernal among those oily and wounding bodies, traveling through silence and illuminating it by: your teeth, your eyes, your cynicism, that mass of white, sweaty steam. For them—tuberculosis and death—here is my remedy: you are a whore.

The word is not a title, it tells your profession. Be a sublime whore. You recite—as the poetic language entirely within you turns toward death where you are lazily burying yourself—with a high, expressionless voice an erased text. What will die when you die will be not a man, but a herald, bearing depleted coats of arms.

FRAGMENTS OF A SECOND DISCOURSE

Beneath your glacial appearance, what shiver could move you?

—What’s wrong?
—Nothing
—Yes
—Nothing
—You’re sad
—So I’m sad
—Why
—Because I’m sad
—Why sad
—Because

What steps, carved out of hard appearance, go down backward, Shades? What preparatory simulacrum to start with? Under a clear, cold light, enter, the rooms are ready: on the facing walls, the mirrors do not multiply the play of the event, but are a prelude to its absence. These round silences have the shape of your head, so I break them with a quick blow so that out come

—Nothing
—But why?
—I’m sad
—Yes?
—Because
—Why sad?
—My friend doesn’t have a suit
—Why
—He gave it Your eye aims at life
—He gave it? To whom?
—To a dead man.

The result of all of this is an unhinged, Rabelacian, poetic, sharp, tart, and critical collection of essays that, frankly, only Jean Genet could turn out. It’s both exciting and off-putting, just as with a fashion exhibition by Alexander McQueen.

[Esencia a libro nuevo · Rating 4 out of 5]

Una de las cosas que más he valorado ha sido el prólogo escrito con una pluma excelente por Irene Antón, autora de un estudio monográfico del autor. En él, se presenta la figura del autor (en algunos pasajes más personaje que persona), el entorno que vivió y la finalidad de los escritos: criticar la sociedad burguesa del París de la época y su rechazo hacia las etiquetas impuestas por ésta. Me ha parecido un aporte necesario y muy útil antes de inmiscuirte en la lectura para entender qué quiere criticar, ensalzar, repudiar y embellecer. El libro incluye “El niño criminal” y “Fragmentos”. “El niño criminal” me ha fascinado. El ensayo habla de la vida del criminal, de cómo se fragua esa falta de inocencia y cómo la sociedad les afina en cárceles y les obliga a disfrazarse y a rechazar su propia naturaleza criminal y sanguinaria. Es un relato contra la sociedad moral hipócrita que acata a rajatabla los dogmas imperantes sin cuestionarlos, y ahí el propio autor no duda en señalarnos, regañarnos y hasta insultarnos. Iba con miedo dada la naturaleza ensayística y filosófica del relato, pero la pluma es excelente y no me ha costado nada entender lo que pretendía mostrar. Me cuesta creer que lo escribiera el propio Genet (prostituto, vagabundo…), porque la pluma es magistral: algo selecta para un tipo que estuvo en la cárcel, sin llegar a pecar de pomposa y cursi, pero no demasiado intelectual como para no entenderse bien y sin necesidad de releer. Por el contrario, “Fragmentos” me ha gustado menos. Tiene un estilo que me ha recordado a esos textos densos y largos que nos hacían leer en clase de Filosofía de Platón y Aristóteles, en los que una sola pregunta (sin respuesta, por supuesto) ocupaba toda una página. Con mucha alegoría, doble sentido y un estilo lírico – onírico, Genet nos presenta un boceto, un borrador de poema largo y extenso. Me ha costado seguirla y me he perdido en algún momento, pero me ha gustado. Esta segunda parte, en la que cambia el registro y la estructura de forma tajante, es más vomitiva. Si en la anterior, ensalzaba el mundo criminal y oscuro, en ésta escupe su propia bilis, se autodestruye con palabras, hechos y enfermedades a sí mismo y se regodea en el asco que siente hacia su persona. Y es que, en el fondo, Jean Genet es masoquista y le gusta que le sacudan y sacudirse él. Me ha parecido que pone en relieve el coste de esa vida criminal, pero sin arrepentimiento. El coste es alto, pero lo paga igual porque merece la pena. Cómo se arrodilla frente a pollas viejas por dinero, cómo acaba infectado de tuberculosis…. Visualmente es más imaginativo que “El niño criminal”, te transporta al momento en que lo escribe, y te lo imaginas mirándose al espejo, desnudo por dentro y por fuera, llamándose “puta” y gimiendo y llorando. Recomendadísimo. Más el primer texto que el segundo, pero los he disfrutado muchísimo. Leeré más del autor.

[Ben Robinson · Rating 5 out of 5]

The Criminal Child essay that opens this collection is a prime summation of the JG worldview, an outright rejection of societal order never given its proper RDF airtime back in the day. Bitchy and erudite, his voice haunts us still.

[Derek · Rating 4 out of 5]

It’s interesting to see Genet do in essays what he does in fiction: turn everything inside out.

[Scott · Rating 4 out of 5]

His strangely poetic essay/interview titled “The Studio of Alberto Giacometti” is finely inspired about the artist and creation.

[Eric · Rating 4 out of 5]

"The truth, however, is this morality that leads you to hunt down children hardly carries any weight in your own lives. I don't hold that against you. The merit you have is in professing those principles that give some order to your life. But you are not strong enough to commit yourself wholeheartedly to virtue or to Evil. You preach one, you disavow the other, even as you profit from it. How practical you are!"

The essay "The Criminal Child" is just what you might expect from Genet: Invited to offer his thoughts on how society can return the 'criminal' youth to society by a French radio station, he instead lays out a defense of criminality, and the ways in which the institution from which he sees himself a graduate has created a subterfuge for those abused or ignored by the tepid, limp morality of the world. What follows are essays, short plays, and prose that elaborate on this strain of thought, toward a poetic ethics of purpose and self actualization in the midst of shame and the absence of structure. Genet's demand that the world take seriously such a wretched personal philosophy of opposition, despite its contradictions, and without even a language to make itself clear, is fleshed out in the sketches that appear in some cases as journal entries intended to buoy is own artistic production ("fragments") or as words of advice to those that would follow his approach ("tighrope walker"). I'll go back to these.

[Thom]

The Criminal Child is a writing by Jean Genet that was intended to be delivered on a French radio show regarding child criminality, specifically in regards to the reformation of French youth prisons, before being cancelled due to its controversial subject matter. The version of the text that I read has a translation of Genet's uncensored text, along with an afterword providing some analysis.

This was an interesting little piece of writing. Genet ultimately takes a position that is anti-reformatory, as I understand it, because of his belief that doing so would crush the criminal spirit of those children residing in French youth prisons. Which isn't to say that Genet takes a stance that is 'pro-prison' as much as he is taking one that is 'anti-society.' Specifically through the argument that the reformation of these prisons isn't taken as a measure to grant these children autonomy, as much as it is an attempt to mold them into better citizens. After reading the afterword, and seeing what some others had to say on here, a lot of the personal experiences that are informing Genet's position is informed from his novel Miracle of the Rose, which I've yet to read. Might revisit this if/when I get around to checking that out.

[Sunny · Rating 3 out of 5]

Interesting little selection of essays. The main essay is about the criminal mind and in this one the author tries to show some of the reasons why criminality comes in to some of these young minds and how that leads to the creation of young criminals. I didn't find the other essays all that interesting if I'm really honest and had to skip through them as they were on some relatively random subjects such as Jean Cocteau, the studio of Alberto Giacometti and a tightrope walker for example. Will have to say the criminal mind essay was interesting and quite insightful. Here are a few of the best bits from the book:

It takes nerves and guts to rebel against society in all its strength, against the harshest of institutions, against laws upheld by the police whose power derives not only from organization but from the legendary, mythical, nebulous fear it plants in children's hearts.

In their minds, which can hardly be said to be theirs so long as you have the power to behead them, they are heroes as fine as those that thrill you in your books. Living on their own terms takes more talent than the greatest poets have, if they live.

[Tránsito Blum · Rating 5 out of 5]

Aquí podremos presenciar con toda su intensidad una de las propuestas más radicalmente antisociales de la obra de Jean Genet, marcado por el rechazo y la lucha del yo, uno de los escritores más reconocidos y polémicos de la literatura francesa del siglo XX. Explorarán el mundo de las colonias penitenciarias para menores, donde se encuentran esos niños esparcidos por la elegante campiña francesa, que son recluidos en el correccional o en los llamados Reformatorios de la infancia delincuente, mientras Genet canta con la fuerza moral de su gesto de rebeldía ante la sociedad. Entenderán porqué al salir de esos lugares no regresaban nunca. Descubrirán el significado del Mal que se esconde en el corazón de esos jóvenes criminales y la Potencia de las Tinieblas. Su lirismo les llevará a un estado sobrecogedor. Yo sigo intentando asimilarlo. Les invito a que exploren su obra. Aquí se esconden una gran parte de las claves de la delincuencia.

Fuente: https://huracanesenpapel.blogspot.com...

[Jack Cienfuegos · Rating 3 out of 5]

Salimos en defensa de un maleante, de una prostituta, de alguien quien desde el principio sabe que el asunto está mal pero a su vez lo hace porque lo siente bien, como nosotros ahora nos sentimos bien luego de defenderlos, porque estamos a favor de las minorías, de quien opta por el camino del mal, del homosexualismo, a favor de quien vende su cuerpo. Porque esos seres nos enamoran, nos dan un punto de vista que a veces deseamos ser, aventuramos con serlo en series y películas, pero que sabemos que por la moral está mal ser como ellos. Y es mentira que salimos en su defensa, porque cada uno es dueño de su cuerpo y del cuerpo que tiene al lado, porque en el fondo todos somos medios fachos y nunca con la delincuencia.
Pero Genet sí está a favor del lado negro del corazón este texto lo emparento con el “fetichismo de la marginalidad” porque un aire tiene, y porque la delincuencia siempre estará.

[Lance Grabmiller · Rating 3 out of 5]

Calling this collection a series of essays is somewhat disingenuous. The best of the works are something between an essay and a luminous fiction (like Fragments of The Tightrope Walker) and the letter to Leonor Fini has the absolute incandescence of his literature (the best of this collection). Only a couple of the works here feel like straightforward essays, including the work that gives this collection its title (and is probably the least interesting work within).

[Colin Feely · Rating 4 out of 5]

Incredible and moving work by Genet with a decent analysis afterward. Genet speaks to the desire for adventure, for heroism, the search for meaning in life which has nothing to do with society or the good or maybe it is in revolt of society itself... I feel Genet’s work speaks for itself and doesn’t need the addition but I’m not the publisher.

Genet’s speech:5 stars
Notes in Genet:3.5

[Sabelka · Rating 4 out of 5]

Xa decidín que "O neno criminal" é o meu xuramento hipocrático como profesora.

(Póñolle 4 estrelas a esta edición porque inclúe un segundo texto, "Fragmentos", co que non conectei ao mesmo nivel que co primeiro. Recoñezo que non sei en que medida se debe a que "O neno criminal" é tan desbordante que calquera cousa que viñera detrás estaba condenada a quedar eclipsada.)

[Gurldoggie · Rating 4 out of 5]

Haunted personal essays by Genet. Arranged chronologically and ostensibly dealing with a range of subjects, but in truth each essay is a self reflection, an expression of Genet's outsider status, his gravity-defying love of beauty, his death wish. Sometimes challenging to follow his point but the cascade of rich, raw, sensual language is a point in itself.

[Juanito Bolaño · Rating 3 out of 5]

Pensar vale la pena cuando provoca, una posición interesante sobre el crimen como efecto estético de la sociedad, cómo oposición a la moral, propuesta de otra realidad bella para los buenos,mala para los dueños... "Tú, una sonrisa, un desafío y entonces la inquietud de tu boca ¡Es el pánico!

[Rosa Tolava · Rating 3 out of 5]

Crítica a las instituciones públicas para menores. Bajo el rótulo del cuidado de la "buena moral", estas instituciones son depósitos de niños que sólo empeoran la situación de los menores.