Julio Enríquez-Ornelas | Wabash College (original) (raw)

Book Reviews by Julio Enríquez-Ornelas

Latin American Literature Today, 2020

Los días del encierro. Carlos Orlando Pardo. Ibagué-Tolima, Colombia: Pijao Editores. 2020. 100 p... more Los días del encierro. Carlos Orlando Pardo. Ibagué-Tolima, Colombia: Pijao Editores. 2020. 100 pages. In his most recent book, Los días del encierro [Lockdown days], Colombian writer Carlos Orlando Pardo elaborates a text in which he lends visibility to life during the times of Covid-19. He does this in the style of chronicle, newspaper report, and narrative. In this book, all contemporary readers will immediately recognize the context of the text because it resembles their present. In Los días del encierro, Carlos Orlando Pardo positions himself as a character-narrator who writes from Tolima, Ibagué in Colombia as part of a thirty-day writing exercise. Thus, even without knowing how the situation will end, Carlos Orlando Pardo writes the first book about and during the pandemic, all in hybrid form. The book is made up of 70 short texts that offer a global overview of the 2020 stay-at-home order. From the opening pages, the text informs its readers that it "plays not with originality but with popularity." The narrative form of the book highlights how our current experience is global, since we all maintain an extensive online social network that facilitates international communication.

Papers by Julio Enríquez-Ornelas

México: Nueva Imagen, 1996

SIDALC - Sistema de Informacion y Documentacion Agropecuaria de las Americas.

Pedro Ángel Palou y la novela infinita: Lecturas críticas, 2023

En México los escritores del Crack recurren al apocalipsis para explorar el miedo y el deseo del ... more En México los escritores del Crack recurren al apocalipsis para
explorar el miedo y el deseo del “fin del mundo”. Alberto Castillo Pérez
especula que los temas apocalípticos fueron habituales en 1996 por
el inminente fin de siglo a finales de los noventas. De esta generación Pedro Ángel Palou en 1995 es el primero en escribir la novela apocalíptica, Memoria de los días. En este estudio, la meta es ofrecer una lectura de Memoria de los días en donde se destaca el uso de Amado Nervo como escribano y el fin de siglo.

Suburbano , 2017

1. Mi relación con la frontera no es la de separaciones internas, ni tampoco es lo de las fronter... more 1. Mi relación con la frontera no es la de separaciones internas, ni tampoco es lo de las fronteras del abismo. Mi aproximación con la frontera consiste en un espacio real, donde vive la familia. Donde existe esa (des)integración entre el norte y sur. En la raya. En la línea es a donde llega mi abuelita como punto medio, como punto de parada y de partida, siempre de paso. También es donde los datos erróneos de alguien más se adquieren como hechos propios, donde se van creando personajes inexistentes, donde la gente se hace pasar por quien no es solo para cruzar. Mucho se dice sobre la frontera y cómo cruzarla, atravesarla. Pues he aquí más decir. En el norte, en la ciduad de Steinbeck, un día llegué a casa y las cosas y objetos materiales se habían guardado en cajas y bolsas porque ya nos íbamos a Tijuana. Pensé, por fin iría a México, aunque todos los que no son de la frontera, siempre aclaran que la frontera no es México y lo hacen como para disculparse, como para absolverse de ese espacio. Eso aún no lo sabía. Así, un día embarcamos en dicha aventura. Mi madre y dos hermanas se fueron en el coche. Yo insistí en irme en el camión alquilado aunque fuera acompañado de un extraño que conocía de vista quien había ido a la casa unas cuantas veces. Pude convencerle a mi madre que tenía edad suficiente y valentía para irme en el camión. Las primeras cinco horas fueron como todo viaje con curvas, bajadas, árboles, montañas, sierras y desiertos en constante movimiento. De NOVEDADES NOVEDADES

Critical Storytelling from the Borderlands , 2022

The following three creative writing texts appear in Critical Storytelling from the Borderlands. ... more The following three creative writing texts appear in Critical Storytelling from the Borderlands. These texts are "solo jeans", "over sopes and burritos", "my first language is spanglish", and "dolar".

Narrative Encounters with Ethnic American Literatures, 2020

American writers who are read as part of Ethnic Literature do not perform with the authorial inte... more American writers who are read as part of Ethnic Literature do not perform with the authorial intention of being identified or read as such. Yet, they are. As a result, once this moniker is imprinted upon their work, their writing begins to carry a different weight and perform a different labor than white American writers. At times their writing is expected to represent an ethnic experience, as opposed to being read as a mainstream American experience. Writers labeled ethnic do not strive to write to prove nor educate those in power on their experience, but their work serves that purpose. Instead, they produce innovative writing much like white writers who are deemed solely American.

Journal Prose Studies History, Theory, Criticism, 2020

Foregrounding Tell Me How It Ends: an Essay in 40 Questions (2017) by Valeria Luiselli and Unacco... more Foregrounding Tell Me How It Ends: an Essay in 40 Questions (2017) by Valeria Luiselli and Unaccompanied (2017) by Javier Zamora, I explore how the authors self-represent in their work and, more pressingly, how they represent the unaccompanied minor experience. I situate Luiselli‘s work as an example of what I consider the Paz-Rodríguez Complex. This transnational cultural process plays out in Luiselli’s nonfiction work, and impacts how Zamora‘s poetry is read. Luiselli and Zamora‘s ethnographic books could be read within Mexican Studies, Latin American Studies, Latinx Studies, and U.S. Central American Studies due to their interdisciplinary content. Zamora‘s text is a crucial pairing with Luiselli because, in some ways, his texts give visibility to the experience that Luiselli simply does not have access to as an outsider gazing from afar.

Pijao Editores, 2020

Ecología poscolonial y capitalismo en El taller, el templo y el hogar (2018) de William Ospina

Textos híbridos: revista de estudios sobre la crónica latinoamericana, 2019

The Journal of the Midwest Modern Language Association , 2017

Books by Julio Enríquez-Ornelas

Latino Literature: An Encyclopedia for Students , 2023

Edited by Christina Soto van der Plas and Lacie Rae Buckwalter Cunningham. The American Library... more Edited by Christina Soto van der Plas and Lacie Rae Buckwalter Cunningham.

The American Library Association announced their annual book awards, and Latino Literature was named one of the 10 Outstanding Reference Sources for 2023 from the ALA’s Reference and User Services Association (RUSA): "Latino Literature is a well written encyclopedia resource. The entries cover Latino authors as well as movements, genres and historical events within literature and their importance to Latino Literature and Culture. Each signed entry contains just enough description to be useful and a reading list for further study."

Latin American Literature Today, 2020

Los días del encierro. Carlos Orlando Pardo. Ibagué-Tolima, Colombia: Pijao Editores. 2020. 100 p... more Los días del encierro. Carlos Orlando Pardo. Ibagué-Tolima, Colombia: Pijao Editores. 2020. 100 pages. In his most recent book, Los días del encierro [Lockdown days], Colombian writer Carlos Orlando Pardo elaborates a text in which he lends visibility to life during the times of Covid-19. He does this in the style of chronicle, newspaper report, and narrative. In this book, all contemporary readers will immediately recognize the context of the text because it resembles their present. In Los días del encierro, Carlos Orlando Pardo positions himself as a character-narrator who writes from Tolima, Ibagué in Colombia as part of a thirty-day writing exercise. Thus, even without knowing how the situation will end, Carlos Orlando Pardo writes the first book about and during the pandemic, all in hybrid form. The book is made up of 70 short texts that offer a global overview of the 2020 stay-at-home order. From the opening pages, the text informs its readers that it "plays not with originality but with popularity." The narrative form of the book highlights how our current experience is global, since we all maintain an extensive online social network that facilitates international communication.

México: Nueva Imagen, 1996

SIDALC - Sistema de Informacion y Documentacion Agropecuaria de las Americas.

Pedro Ángel Palou y la novela infinita: Lecturas críticas, 2023

En México los escritores del Crack recurren al apocalipsis para explorar el miedo y el deseo del ... more En México los escritores del Crack recurren al apocalipsis para
explorar el miedo y el deseo del “fin del mundo”. Alberto Castillo Pérez
especula que los temas apocalípticos fueron habituales en 1996 por
el inminente fin de siglo a finales de los noventas. De esta generación Pedro Ángel Palou en 1995 es el primero en escribir la novela apocalíptica, Memoria de los días. En este estudio, la meta es ofrecer una lectura de Memoria de los días en donde se destaca el uso de Amado Nervo como escribano y el fin de siglo.

Suburbano , 2017

1. Mi relación con la frontera no es la de separaciones internas, ni tampoco es lo de las fronter... more 1. Mi relación con la frontera no es la de separaciones internas, ni tampoco es lo de las fronteras del abismo. Mi aproximación con la frontera consiste en un espacio real, donde vive la familia. Donde existe esa (des)integración entre el norte y sur. En la raya. En la línea es a donde llega mi abuelita como punto medio, como punto de parada y de partida, siempre de paso. También es donde los datos erróneos de alguien más se adquieren como hechos propios, donde se van creando personajes inexistentes, donde la gente se hace pasar por quien no es solo para cruzar. Mucho se dice sobre la frontera y cómo cruzarla, atravesarla. Pues he aquí más decir. En el norte, en la ciduad de Steinbeck, un día llegué a casa y las cosas y objetos materiales se habían guardado en cajas y bolsas porque ya nos íbamos a Tijuana. Pensé, por fin iría a México, aunque todos los que no son de la frontera, siempre aclaran que la frontera no es México y lo hacen como para disculparse, como para absolverse de ese espacio. Eso aún no lo sabía. Así, un día embarcamos en dicha aventura. Mi madre y dos hermanas se fueron en el coche. Yo insistí en irme en el camión alquilado aunque fuera acompañado de un extraño que conocía de vista quien había ido a la casa unas cuantas veces. Pude convencerle a mi madre que tenía edad suficiente y valentía para irme en el camión. Las primeras cinco horas fueron como todo viaje con curvas, bajadas, árboles, montañas, sierras y desiertos en constante movimiento. De NOVEDADES NOVEDADES

Critical Storytelling from the Borderlands , 2022

The following three creative writing texts appear in Critical Storytelling from the Borderlands. ... more The following three creative writing texts appear in Critical Storytelling from the Borderlands. These texts are "solo jeans", "over sopes and burritos", "my first language is spanglish", and "dolar".

Narrative Encounters with Ethnic American Literatures, 2020

American writers who are read as part of Ethnic Literature do not perform with the authorial inte... more American writers who are read as part of Ethnic Literature do not perform with the authorial intention of being identified or read as such. Yet, they are. As a result, once this moniker is imprinted upon their work, their writing begins to carry a different weight and perform a different labor than white American writers. At times their writing is expected to represent an ethnic experience, as opposed to being read as a mainstream American experience. Writers labeled ethnic do not strive to write to prove nor educate those in power on their experience, but their work serves that purpose. Instead, they produce innovative writing much like white writers who are deemed solely American.

Journal Prose Studies History, Theory, Criticism, 2020

Foregrounding Tell Me How It Ends: an Essay in 40 Questions (2017) by Valeria Luiselli and Unacco... more Foregrounding Tell Me How It Ends: an Essay in 40 Questions (2017) by Valeria Luiselli and Unaccompanied (2017) by Javier Zamora, I explore how the authors self-represent in their work and, more pressingly, how they represent the unaccompanied minor experience. I situate Luiselli‘s work as an example of what I consider the Paz-Rodríguez Complex. This transnational cultural process plays out in Luiselli’s nonfiction work, and impacts how Zamora‘s poetry is read. Luiselli and Zamora‘s ethnographic books could be read within Mexican Studies, Latin American Studies, Latinx Studies, and U.S. Central American Studies due to their interdisciplinary content. Zamora‘s text is a crucial pairing with Luiselli because, in some ways, his texts give visibility to the experience that Luiselli simply does not have access to as an outsider gazing from afar.

Pijao Editores, 2020

Ecología poscolonial y capitalismo en El taller, el templo y el hogar (2018) de William Ospina

Textos híbridos: revista de estudios sobre la crónica latinoamericana, 2019

The Journal of the Midwest Modern Language Association , 2017

Latino Literature: An Encyclopedia for Students , 2023

Edited by Christina Soto van der Plas and Lacie Rae Buckwalter Cunningham. The American Library... more Edited by Christina Soto van der Plas and Lacie Rae Buckwalter Cunningham.

The American Library Association announced their annual book awards, and Latino Literature was named one of the 10 Outstanding Reference Sources for 2023 from the ALA’s Reference and User Services Association (RUSA): "Latino Literature is a well written encyclopedia resource. The entries cover Latino authors as well as movements, genres and historical events within literature and their importance to Latino Literature and Culture. Each signed entry contains just enough description to be useful and a reading list for further study."

Critical Storytelling from the Borderlands, 2022

From this set of critical stories emerges a timely confession from marginalized imagined communit... more From this set of critical stories emerges a timely confession from marginalized imagined communities at the physical and metaphorical Mexican-American border. These hybrid storytellers create a multivalence of experiences and genres. Composers of this ground-breaking collection draw readers into an affective connection with the borderlands, offering critical examinations of legal status, gender, race, ethnicity, sexuality, social class, family, and health. Additionally, creative representations across genres explore notions of geography, vulnerability, suffering, trauma, pain as well as joy, healing, and love. By posing questions about loss of innocence, they incite new literary and visual spaces for fusing together fragments of the remains of land, body, and/or being, all the while creating a site of fresh confessions where critical stories are illuminated collages assembled together from within la línea.

Contributors are: Kiri Avelar, Irving Ayala, Carmella J. Braniger, Roxana Fragoso Carrillo, Marisa V. Cervantes, Guadalupe Chavez, Julio Enríquez-Ornelas, Liliana Conlisk Gallegos, Verónica Gaona, Andrea Gómez, Filiberto Mares Hernández, Víctor M. Macías-González, Carol Mariano, Ana Silvia Monzón Monterroso, Juana Moriel-Payne, Rachel Neff, Jumko Ogata-Aguilar, José Olivarez, Isabela Ortega, Paul Pedroza, Jorge Omar Ramírez Pimienta, Raphaella Prange, Felipe Quetzalcoatl Quintanilla, Erica Reyes, Fidel García Reyes, Lizbeth De La Cruz Santana and Santiago Vaquera-Vasquez.