The Latin American Novel in English and French (original) (raw)
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Queer identities and racialized subjects in a transnational and multi-ethnic context are central to the novels of Rita Indiana (1977), a lesbian writer, performer, and singer, originally from the Dominican Republic, a country where whiteness, anti-Haitianism, patriarchy, Hispanophile culture, and Catholicism prevail(ed). This chapter explores how Indiana's multilayered works, aside from dealing with the well-researched globalizing topics of queerness, race, and transnationality, interconnect with other recurrent tendencies and subjects in contemporary (Latin American) literature. These include auto ction, urban novel, migration, violence, colonialism, science ction, ecocriticism, and political disenchantment. This approach does not overlook the speci c traits of Indiana's poetics, which takes
CONTEMPORARY LATIN AMERICAN NOVEL (LSPA692)
A study of the Latin American novel in the 20th century against a philosophical and socio-political background. This course will focus on canonical authors. The novels selected for required reading are to be studied exhaustively. This course will give the student a broad, general knowledge of the development of major philosophical and literary trends in Latin America. The writers whose novels will be the focus of the course are: Mariano Azuela (México), Alejo Carpentier (Cuba), Juan Rulfo (México), José María Arguedas (Perú), Julio Cortázar (Argentina), Elena Garro (México), Guillermo Cabrera Infante(Cuba), Gabriel García Márquez (Colombia), Luis Rafael Sánchez (Puerto Rico) y Roberto Bolaño (Chile).
"Introduction" to the Cambrige History of Latina/o American Literature
The Cambridge History of Latina/o American Literature emphasizes the importance of understanding Latina/o literature not simply as a U.S. ethnic phenomenon but more broadly as a trans-American tradition extending from the sixteenth century to the present. Engaging with the dynamics of transculturation, linguistic and cultural difference, and the uneven distribution of power across the Americas that characterize Latina/o literature, the essays in this History provide a critical overview of key texts, authors, themes, and contexts as discussed by leading scholars in the field. This book demonstrates the relevance of Latina/o literature for a world defined by legacies of coloniality, the imposition of militarized borders, and the transnational migration of people, commodities, and cultural practices.
Latin American Literature from the Boom On
Postmodern Fiction: A Bio-Bibliographical Guide, 1986
Latin American Literature from the "Boom" On Contemporary writing in Latin America begins by being, if not postmodernist, then at least paramodernist, for it has never accommodated, feature for feature, the hegemonic Western modernist episteme from its inception in the early seventeenth century to its high modernist swan song in the first three decades of the twentieth century. I We could say that the 1960s "Boom" in Latin American literature takes its point of departure from the high modernists' (Joyce, Kafka, Faulkner) ambivalence (hostility, destruction, and nostalgia) toward a waning modernist discourse. This is true in part. But to favor such a criterion is mistakenly to recognize Latin American culture as the product of European (or Western) history, suffering by comparison in a kind of culturally unequal development.' Latin American literature, for example, may be seen as an echo of Western literature: Jorge Luis Borges "repeats" and even plagiarizes "our" Western heritage; Julio Cortazar* continues Kafka; Gabriel Garcia Marquez* tropicalizes Faulkner; Guillermo Cabrera Infante Cubanizes Joyce. It can be read as an exercise in deference, although very often resulting in parody, whether by default or intentioned irreverence. In this spirit, Cortazar celebrated Lezama Lima's un-self-conscious borrowing and deformation of European texts which beCome mere raw material in the purposefully naive American hand. 3 Finally, Latin American literature has also been understood as an expression of national or regional identity that is discontinuous with foreign models: These views may not be mutually exclusive; rather, the Boom's combination of admiration for the First World masters and their parodic manipulation helps account for its enormous international success. A typical, and to a great degree justified, impression would read as follows: Latin American literature, especially narrative, hit the intemation&iliterary scene like a tornado, leaving behind a path strewn with prestigious literary prizes ana starry-eyed, awed, and even envious writers from the European and
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This article presents certain Latin American traits from the works of four prestigious and contemporary Latin American writers: Gioconda Belli, Gonzalo Rojas, Augusto Monterroso y Juan José Arreola. The traits discussed include politics, the religious cult, the messianic vision, family, couples and the father figure. We argue that it is very important for people to understand their own culture and identity, to explore and not abandon the conversations about their countries' literary works, as they reflect, report and critique them.