Postethnic Narrative Criticism
Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie
Publication Year: 2003
Published by: University of Texas Press
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This study of contemporaryU.S.multiethnic and British writers and movie directors who employ magicorealism to tell stories is more than a study of how language, style, and form—in novels, autobiographies, and film— work to represent the unrepresentable. It is a celebration of the coming of age of certain writers and directors who revitalized and reformed a storytelling...
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This book grows out of deep discussions on, and a long-standing scholarly interest in, developing a conceptual framework for reading U.S. ethnic and British postcolonial literatures, fictionalized autobiographies, and films. The sometimes heated and always layered conversations and debates that inform this book took place in a variety of venues. Over food and drink...
Introduction: RETHREADING THE MAGICAL REALIST DEBATE
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Magical realism’’: Does the term identify a subtype of basic prose epic genre, a storytelling style, or an ethnopolitics of representation? Furthermore, if identified as a subtype, is magical realism to be located within a particular cultural and historical period such as the...
Chapter One: REBELLIOUS AESTHETIC ACTS
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When Gabriel García Márquez’s Cien años de soledad was first published in Spanish in 1967, it flew off bookstore shelves at a rate never before imagined. Gregory Rabassa’s scrupulously careful translation hit worldwide Anglophone book markets hard three years later—leading to the overnight global success of...
Chapter Two: DASH’S AND KUREISHI’S REBELLIOUS MAGICOREELS
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Contemporary ethnic- and postcolonial-identified magicorealist narratives represent a late-capitalist society that is characterized as being more and more unreal. French critics Guy Debord and Jean Baudrillard have respectively identified this as a ‘‘society of the spectacle’’ or the ‘‘hyperreal’’ in which the ‘‘real’’ in the world out there is a...
Chapter Three: OSCAR ‘‘ZETA’’ ACOSTA’ S DE-FORMED AUTO-BIO-GRAPHÉ
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Chicano/a novelists such as Aristeo Brito, Alfredo V
Chapter Four: ANA CASTILLO’S (EN)GENDERED MAGICOREALISM
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Magicorealism can be a narrative mode used by U.S. Latina authors to invent stories that centrally emplace their Latina characters. Aswe have seen in the past few decades, the form can also be a storytelling mode used by some Latina authors as a formulaic container...
Chapter Five: SALMAN RUSHDIE’S FOURTHSPACE NARRATIVE RE-CONQUISTAS
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When Rudyard Kipling published Kim in 1902, he did not just give the world an adventure novel. The detailed realism he used to describe the protagonist Kim’s coming-of-age and his journey across Northeast India mapped an Indian landscape filled with primitive, childlike ‘‘burned-black’’ (49) people who depended on the parenting...
Coda: MAPPING THE POSTETHNIC CRITICAL METHOD
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Gabriel García Márquez ends One Hundred Years of Solitude with the last of the Buendías, Aureliano Babilonia, deciphering Melquíades’s Sanskrit parchments. The more he deciphers, the more he discovers that he is reading his own beginning and end. At the end of Postethnic Narrative Criticism: Magicorealism in Oscar ‘‘Zeta’’ Acosta, Ana...
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Page Count: 157
Publication Year: 2003