Through penetrating analysis of twentieth-century historical fiction from Central America this book asks: why do so many literary texts in the region address historical issues? What kinds of stories are told about the past when authors choose the fictional realm to represent history? Why access memory through fiction and poetry? Nicole Caso traces the active interplay between language, space, and memory in the continuous process of defining local identities through literature. Ultimately, this book looks to the dynamic between form and content to identify potential maps that are suggested in each of these texts in order to imagine possibilities of action in the future.
Central America has a long history as a site of cultural and political exchange, from Mayan and Nahua trade networks to the effects of Spanish imperialism, capitalism, and globalization. In Teaching Central American Literature in a Global Context, instructors will find practical, interdisciplinary, and innovative pedagogical approaches to the cultures of Central America that are adaptable to various fields of study. The essays map out classroom lessons that encourage students to relate writings and films to their own experience of global interconnectedness and to read critically the history that binds Central America to the United States, Mexico, and the Caribbean. In the context of debates about immigration and a growing Central American presence in the United States, this book provides vital resources about the region's cultural production and covers trends in Central American literary studies including Mayan and other Indigenous literatures, modernismo, Jewish and Afro-descendant literatures, nineteenth- and twentieth-century literature, and contemporary texts and films. This volume contains discussion of the following authors, filmmakers, and public figures: Humberto Ak'abal, María José Álvarez and Martha Clarissa Hernández, Dennis Ávila, Abner Benaim, Jayro Bustamante, Berta Cáceres, Isaac Esau Carrillo Can, Jennifer Cárcamo, Horacio Castellanos Moya, Quince Duncan, Jacinta Escudos, Regina José Galindo, Francisco Gavidia, Francisco Goldman, Enrique Gómez Carrillo, Gaspar Pedro González, Carlos "Cubena" Guillermo Wilson, Eduardo Halfon, Tatiana Huezo, Florence Jaugey, Hernán Jimenez, Óscar Martínez, Victor Montejo, Marisol Ceh Moo, Victor Perera, Archbishop Óscar Romero, José Coronel Urtecho, and Marcela Zamora.
The Cambridge History of Latin American Women's Literature is an essential resource for anyone interested in the development of women's writing in Latin America. Ambitious in scope, it explores women's literature from ancient indigenous cultures to the beginning of the twenty-first century. Organized chronologically and written by a host of leading scholars, this History offers an array of approaches that contribute to current dialogues about translation, literary genres, oral and written cultures, and the complex relationship between literature and the political sphere. Covering subjects from cronistas in Colonial Latin America and nation-building to feminicide and literature of the indigenous elite, this History traces the development of a literary tradition while remaining grounded in contemporary scholarship. The Cambridge History of Latin American Women's Literature will not only engage readers in ongoing debates but also serve as a definitive reference for years to come.
The Limits of Identity is a polemical critique of the repudiation of universalism and the theoretical commitment to identity and difference embedded in Latin American literary and cultural studies. Through original readings of foundational Latin American thinkers (such as José Martí and José Enrique Rodó) and contemporary theorists (such as John Beverley and Doris Sommer), Charles Hatfield reveals and challenges the anti-universalism that informs seemingly disparate theoretical projects. The Limits of Identity offers a critical reexamination of widely held conceptions of culture, ideology, interpretation, and history. The repudiation of universalism, Hatfield argues, creates a set of problems that are both theoretical and political. Even though the recognition of identity and difference is normally thought to be a form of resistance, The Limits of Identity claims that, in fact, the opposite is true.
Throughout history, creative writers have often tackled topical subjects as a means to engage and influence public discourse. American authors—those born in the States and those who became naturalized citizens—have consistently found ways to be critical of the more painful pieces of the country’s past yet have done so with the patriotic purpose of strengthening the nation’s community and future. In History and Hope in American Literature: Models of Critical Patriotism, Ben Railton argues that it is only through an in-depth engagement with history—especially its darkest and most agonizing elements—that one can come to a genuine form of patriotism that employs constructive criticism as a tool for civic engagement. The author argues that it is through such critical patriotism that one can imagine and move toward a hopeful, shared future for all Americans. Railton highlights twelve works of American literature that focus on troubling periods in American history, including John Steinbeck’s The Grapes of Wrath,David Bradley’s The Chaneysville Incident, Louise Erdrich’s Love Medicine, Tony Kushner’s Angels in America, Junot Díaz’s The Brief Wondrous Life of Oscar Wao, and Dave Eggers’s What Is the What. From African and Native American histories to the Depression and the AIDS epidemic, Caribbean and Rwandan refugees and immigrants to global climate change, these works help readers confront, understand, and transcend the most sorrowful histories and issues. In so doing, the authors of these books offer hard-won hope that can help point people in the direction of a more perfect union. History and Hope in American Literature will be of interest to students and practitioners of American literature and history.
Combining work by critics from Latin America, the USA, and Europe, Latin American Science Fiction: Theory and Practice is the first anthology of articles in English to examine science fiction in all of Latin America, from Mexico and the Caribbean to Brazil and the Southern Cone. Using a variety of sophisticated theoretical approaches, the book explores not merely the development of a science fiction tradition in the region, but more importantly, the intricate ways in which this tradition has engaged with the most important cultural and literary debates of recent year.
The reality of Central American migrations is broad, diverse, multidirectional, and uncertain. It also offers hope, resistance, affection, solidarity, and a sense of community for a region that has one of the highest rates of human displacement in the world. Central American Migrations in the Twenty-First Century tackles head-on the way Central America has been portrayed as a region profoundly marked by the migration of its people. Through an intersectional approach, this volume demonstrates how the migration experience is complex and affected by gender, age, language, ethnicity, social class, migratory status, and other variables. Contributors carefully examine a broad range of topics, including forced migration, deportation and outsourcing, intraregional displacements, the role of social media, and the representations of human mobility in performance, film, and literature. The volume establishes a productive dialogue between humanities and social sciences scholars, and it paves the way for fruitful future discussions on the region’s complex migratory processes. Contributors Guillermo Acuña Andrew Bentley Fiore Bran-Aragón Tiffanie Clark Mauricio Espinoza Hilary Goodfriend Leda Carolina Lozier Judith Martínez Alicia V. Nuñez Miroslava Arely Rosales Vásquez Manuel Sánchez Cabrera Ignacio Sarmiento Gracia Silva Carolina Simbaña González María Victoria Véliz
By studying multiple cultural expressions of Blackness throughout different regions of the Americas, the chapters of this book consider the relationship that social and historical processes such as sovereignty and colonialism have on cultural productions made by and about Black Latin American women. Rosita Scerbo analyzes a range of power dynamics as represented in different artistic media of the Afro-Latin/x American community, including photography, muralism, performance, paintings, and digital art. The book acknowledges that racial and gender equity cannot exist without Intersectionality and that is why the entirety of the chapters focus on cultural and visual productions exclusively created by Afro-descendant women. The Black Latin American women featured in the various chapters, spanning multiple artistic mediums and originating from various Latin American and Caribbean nations, including Mexico, Colombia, the Dominican Republic, Puerto Rico, Brazil, and Cuba, collectively pursue the central aim of foregrounding the Afro-descendant woman’s experience. Simultaneously, they strive to enhance the visibility and acknowledgment of gendered Afro-diasporic culture within the Latin American context. The book will be of interest to scholars working in art history, gender studies, women’s studies, Latin American studies, African diaspora studies, and race and ethnic studies.
