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258 Arizona Journal of Hispanic Cultural Studies of all the sub-plots in the novel, is distorted as it is reduced to language but ultimately destabilizes textual veracity and "positions the readers within a realm dominated by the image" (25). Then, in "The Arr of Seduction: Urraca by Lourdes Ortiz," Henseler demonstrates how the heroine ofthis historiographie fiction strives to reinsert her elided figure into history by selling readers on the desirability of her erotically and politically charged body, which occupies rhe center of her own story. Chapter 3, "Voiceless Power: Fetishism in Solitario de amor by Cristina Peri Rossi," deftly pairs advertising strategy with fetishist theory to show how the objectified female body, even in absence of the female voice, can subvert fetishism from within rhe same overarching system that has constructed it. In the next chapter, "Self-Reproduction in El amor es un juego solitario by Esther Tusquets ," Henseler examines how visual dynamics in advertising and literature evoke desire and define the body in parallel ways. Specifically in this novel, she shows how "eventually all localizers meld into one-as-other by becoming one another's necessary image of themselves" (89) and, ultimately, how the female body manipulates the visual to subvert male dominance in sexual identification. In contrast, the chapter "Sexual Subversion: Las edades de Lulú by Almudena Grandes" analyzes how a female firstperson narrator aurhors her own image by inciting the other to look at her. This chapter extends to the extra-literary level to discuss the sexual portrayal of Grandes herself in rhe publishing industry. The sixth chapter, "Etxebarria Ecsrasy: The Publishing Industry Exposed," focuses its textual reading on the authorial body itself, analyzing how the polemical Lucia Etxebarria appropriates and manipulates the market system that would produce her. The final chapter, "Autobiographical Sketches: Female Authors Speak Out," gives voice to Paloma DÃ-az-Mas, Rosa Montero, Clara Obligado, Marta Sanz, Lola Beccaria, Paula Izquierdo, Care Santos, and Espido Freiré, who commenr on how their status as women has influenced the production and reception of their body of Throughour this excellent book, Henseler artfully weaves advertising strategy, culrural and literary theory, and close readings to illustrate how text and context interpenetrate one another in bodily confrontation. A highly insightful , informative, and provocative study, Contemporary Spanish Women's Narrative and the Publishing Industry fills a significant gap in the field by shedding light on the market that produces Spanish lirerarure written by women, and by unveiling how this literature, in response, "uses the body as its instrument of subversion as well as its selling point" (141). Jessica A. Folkart Virginia Tech The Cambridge Introduction to Spanish Poetry (Spain and Spanish America) Cambridge University Press, 2002 ByD. Gareth Walters In rwo hundred pages, Professor Walters treats students and critics to cogent syntheses, refreshing perspectives, and trenchant comments on poetry written in Spanish from its beginnings to today. Eschewing chronology, he opts for a generic organization—"the epic," "love poetry"—which nevertheless incorporates assessments of styles and schools. His "Chronological List of Poets Cited," "Index of Names," and "Subject Index" (199-201, 218-23) provide ease of reference. An Inrroduction succinctly accounts for all principal manifestations of Spanish poetry from the jarchas to the present day and includes an outline of versification. Chapter 1, "Poetry and Readers," emphasizes that poets are types not geniuses (clerics, courtiers, soldiers, scholars ). This conforms ro Walters's goal (p. x) of foregrounding the "voice" of Spanish poetry rather than its genial inflections; accordingly, he studies poetry as performance (e.g. troubadors , Lorcas readings). He then demonstrates in detail the benefits and flexibility of readerresponse criticism. Chapter 2 is devoted to Arizona Journal of Hispanic Cultural Studies 259 intertextuality; it distinguishes between plagiarism and imitation, influence and misreading; it ends by demonstrating how women poets today (Ana Rossetti, Giaconda Belli) revise androcenrric texts. These introductory chapters are broad in reach and convincing in rheir analytical detail. The study then becomes more specific. The chapter on the "Epic" is most satisfying: Walters analyzes its initial features (El Cid, La Araucana), discusses Neruda's "Canto general," and details today's "anti-epic" (e.g. in Gil de Biedma, Borges). His chapter on the "Ballad" ("romance...

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