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In contrast to traditional criticism which tends to examine World counterparts, the essays in this collection identify a distinctive pan-American consciousness (and literary idiom), engaging not only the major North American and Spanish American writers, but also such literatures as the Chicano, African-American, Brazilian, and Quebecois. Annotation copyrighted by Book News, Inc., Portland, OR
This volume takes an important step toward the discovery of a common critical heritage that joins the diverse literatures of North America and Latin America. Traditionally, literary criticism has treated the literature of the Americas as "New World" literature, examining it in relation to its "Old World"--usually European--counterparts. This collection of essays redirects the Eurocentric focus of earlier scholarship and identifies a distinctive pan-American consciousness. The essays here place the literature of the Americas in a hemispheric context by drawing on approaches derived from various schools of contemporary critical thought--Marxism, feminism, culture studies, semiotics, reception aesthetics, and poststructuralism. As part of their search for a distinctly New World literary idiom, the contributors engage not only the major North American and Spanish American writers, but also such "marginal" or "minor" literatures as Chicano, African American, Brazilian, and Québecois. In identifying areas of agreement and confluence, this work lays the groundwork for finding historical, ideological, and cultural homogeneity in the imaginative writing of the Americas. Contributors. Lois Parkinson Zamora, David T. Haberly, José David Saldívar, Antonio Benítez-Rojo, José Piedra, Doris Sommer, Enrico Mario Santí, Eduardo González, John Irwin, Wendy B. Faris, René Prieto, Jonathan Monroe, Gustavo Pérez Firmat
Through a comparative analysis of the novels of Roberto Bolaño and the fictional work of César Aira, Mario Bellatin, Diamela Eltit, Chico Buarque, Alberto Fuguet, and Fernando Vallejo, among other leading authors, Héctor Hoyos defines and explores new trends in how we read and write in a globalized era. Calling attention to fresh innovations in form, voice, perspective, and representation, he also affirms the lead role of Latin American authors in reshaping world literature. Focusing on post-1989 Latin American novels and their representation of globalization, Hoyos considers the narrative techniques and aesthetic choices Latin American authors make to assimilate the conflicting forces at work in our increasingly interconnected world. Challenging the assumption that globalization leads to cultural homogenization, he identifies the rich textual strategies that estrange and re-mediate power relations both within literary canons and across global cultural hegemonies. Hoyos shines a light on the unique, avant-garde phenomena that animate these works, such as modeling literary circuits after the dynamics of the art world, imagining counterfactual "Nazi" histories, exposing the limits of escapist narratives, and formulating textual forms that resist worldwide literary consumerism. These experiments help reconfigure received ideas about global culture and advance new, creative articulations of world consciousness.
Vols. for 1921-1969 include annual bibliography, called 1921-1955, American bibliography; 1956-1963, Annual bibliography; 1964-1968, MLA international bibliography.
Compelling, moving, and beautifully written, the interlinked stories that make up We Should Never Meet alternate between Saigon before the city's fall in 1975 and present-day "Little Saigon" in Southern California---exploring the reverberations of the Vietnam War in a completely new light. Intersecting the lives of eight characters across three decades and two continents, these stories dramatize the events of Operation Babylift, the U.S.-led evacuation of thousands of Vietnamese orphans to America just weeks before the fall of Saigon. Unwitting reminders of the war, these children were considered bui doi, the dust of life, and faced an uncertain, dangerous existence if left behind in Vietnam. Four of the stories follow the saga of one orphan's journey from the points-of-view of a teenage mother, a duck farmer and a Catholic nun from the Mekong Delta, a social worker in Saigon, and a volunteer doctor from America. The other four take place twenty years later and chronicle the lives of four Vietnamese orphans now living in America: Kim, an embittered Amerasian searching for her unknown mother; Vinh, her gang member ex-boyfriend who preys on Vietnamese families; Mai, an ambitious orphan who faces her emancipation from the American foster-care system; and Huan, an Amerasian adopted by a white family, who returns to Vietnam with his adoptive mother. We Should Never Meet is one of those rare books that truly takes an original look at the human condition---and marks the exciting debut of a major new writer for our time.