Mutual Impressions: Writers from the Americas Reading One Another (review)

Arizona Journal of Hispanic Cultural Studies 321 record labels, was a superficially "nonthieatening rebellion", i.e., rock 'h roll "contained" by virtue of being in Spanish (and avoiding English and auta of indecency that it catried) and a clean-cut image (72). By the mid-1960s, the student movement and a growing counterculture (La Onda) assured a different place for rock music. Authenticity became an important marker for rock in this peiiod, which meant singing covers in English and mimicking —as closely as possible—many of die North American ideals introduced by transnational capital . Zolov demonstrates that this pivotal moment in Mexican history was a time for immense growrh and creativity on the part ofthe rockers, but also a time when the concern about malinchismo or the betrayal of Mexican values became paramount. Again, institutional forces worried about the transformation ofthe social landscape. These concerns led, in part, to the massacre atTktelolco in 1968 which, aiguës Zolov, essentially ended the Mexican student movement. In die absence ofthe student movement, youth culture focused more heavily on La Onda and what had been piimaiily a "fashion statement and middle-class snuggle" became "a more broadly based expression of protest" (132). The Mexican hippies (jipis or xipitecas) "rediscovered" indigenous cultures which led, eventually, to a revitalized nationalist movement, one that depended on the "influence of transnational images [...] to challenge a totalizing discourse of national identity" (139). Rock increasingly became a bridge between Mexican youth of different classes. With Luis EcheverrÃ-ás presidency (19681974 ), companies were once again allowed to freely traffic in rock. With the growing acceptance ofthe nation, rock bands began creating original music. Alrhough it was still in English, it was foi the purpose of being "international" rock that could take advantage ofthe transnational companies . "La Onda Chicana" continued to unity youth across class barriers. Zolov provides a comprehensive account of Avándaro, the Mexican Woodstock, highlighting the interactions of fans, bands, the EcheverrÃ-a regime, the nueva canción movement, and the discouises of nationalism diat were the coin of all ofthe above. He also has an interesting section on the USIA's involvement in "translating" the North American counterculture for Latin Americans. Eric Zolov admits to the circumscribed nature of his study: it primarily addresses the growing middle class and the uiban centeis (mainly Mexico City and Guadalajara), and he asks foi more work to be done on Mexican rock. It is true that up until now, what has been written on the subject has been die work of journalists and novelists , not academics. Zolov's work provides a solid and auspicious beginning to this field, especially considering the fact that so much of out knowledge of Mexican rock has been lost, in part, Zolov points out, because ofthe scarcity of its commodification of because of its replacement by anothei commercialized counterculture: the U.S. one. Zolov's study is well written and researched. He seamlessly weaves together the varied sources: from interviews with participants in die counteiculture to documents of die USIA to rock albums, movies, and newspapei articles. I cannot neglect to mention diat RefriedElvis entertains as well as edifies. Zolov's command of his subject ensures that diis study of transnational forces and popular culture be like any good lock song: a resource ro return to again and again. Adriana EstiU The University of New Mexico Mutual Impressions: Writers from theAmerwas Reading One Another Edited by Ilan Stavans This is a collection of texts written by Latin American and North American authors on the oeuvre of each other. The book is divided in two parts and this strucrure inevitably forces the reader to compare what South thinks of North and vice veisa, artistically and culturally speaking. It is of great importance when reading this book to keep in mind what Stavans suggests in his introduction : that texts speak more of their authois than of their object of criticism. Therefore, what becomes an interesting endeavot when reading Mutual 322 Arizona Journal of Hispanic Cultural Studies Impressions is not necessarily scrutinizing the writers ' opinion of their neighbors bur whethet or not theii cultuial atmosphere imposes a given peispective in leading one another. It is dso important to...