Postethnic Narrative Criticism: Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie

Index

Index Acosta, Oscar ‘‘Zeta’’: and capitalist book and film marketplace, ; characters and narrators of generally, , ; and intertextuality, ; magicorealism of, –, –; narrative mode of, ; and self-reflexivity, –,  —work: Autobiography of a Brown Buffalo, , , –, –, n. Adams, Henry, n. Africa, –, , ,  African Americans, , –,  Ahmad, Aijaz, ,  Alarcon, Norma, n. Alazraki, Jaime, , n. Alexis, Jacques Stephen,  All the Pretty Horses (McCarthy),  Allende, Isabel, , , –,  Alter, Robert,  American Indian writers,  Amerindian creation stories, –, n. Amerindians, , , , , , , –, , , n. Anaya, Rudolfo, , , , n. Angulo, María-Elena, , –n. Anzaldúa, Gloria, ,  Appiah, Kwame Anthony,  Arau, Alfonso,  Araújo, Helena,  Arguedas, José María, ,  Arias, Ron, ,  Aristotle, n. Aronna, Michael, n. Arreola, Juan José,  Arte Público,  Arteaga, Alfred,  Asian Subaltern Studies Group, , n. Asturias, Miguel Angel de, , –, , , , n. Augustine, n. autobiography: Augustinian lineage in, n.; Chicano/a-marked autobiographies , –; ethnic-identified autobiography generally, , – , n.; and identity politics, , , –, n.; magicorealism in, –, – Autobiography of a Brown Buffalo (Acosta): Acosta-as-character in, –; Acosta-as-narrator in, , –, , , –; antihero in, –; authoring a magicoreal narrator in, –; character-as-laughter in, –; dustjacket cover of, , n.; flashbacks in, –; and identity politics, , , –; and mimesis-as-play genre, Tseng 2002.12.24 08:40 6758 Aldama / POSTETHNIC NARRATIVE CRITICISM / sheet 147 of 157 , , n.; parody in, –; psychoanalyst Dr. Serbin in, ; racist ideology in, –, , , ; selfre flexivity in, –, ; significance of, –, –; spectacularization of society in, –, ; splitting narrator from character in, –, ,  awards for authors, , ,  Al-Azm, Sadik Jalal,  Bakhtin, Mikhail, , , , , , , ,  Ball, John Clement,  Ballinger, Franchot, n. Balzac, Honoré de,  Barnes, Djuna,  Barthes, Roland, ,  Baudrillard, Jean,  Bautista Gutiérrez, Gloria, ,  Bejel, Emilio, – Benítez, Sandra, ,  Beverly, John, , n. Bhabha, Homi, , ,  ‘‘Big Mama’s Funeral’’ (García Márquez),  Birth of a Nation,  Bless Me, Última (Anaya),  book and film marketplace, – Booker Prize, , ,  Borderlands/La Frontera (Anzaldúa),  ‘‘border writers’’ and borderlands, , , – Borges, Jorge Luis, , , ,  Bovarism, , n. Boyle, T. Coraghessan, – Breton, André,  Brito, Aristeo, ,  Bromley, Roger, – Brontë, Charlotte,  Brotherston, Gordon, –n. Bruce, Novoa, Juan, ,  Burroughs, William,  Calderón, Hector, – Camayd-Freixas, Erik,  Canclini, Néstor García,  capitalism: book and film marketplace, –; in Castillo’s So Far from God, , –, –; in García Márquez’s Cien años de soledad, –; and globalization , , ; and magical realism, ; Marx on, ; poststructuralists on, ; resistance to, ; in Rushdie’s works, ; in Sammy and Rosie Get Laid, , n.; and violence of the spectacle, – Capote, Truman,  carnivalesque, , –, , – Carpentier, Alejo, , , –, , , , n., –n., n., n. Castillo, Ana: and capitalist book and film marketplace, ; characters and narrator of, , , –, n.; engendered magicorealism of, – , ; and intertextuality, ; magicorealism of, , –, , – ; Menton’s analysis of, –; and mimesis-as-play, –, –; narrative style of, , –; and parody, , , , ; postmodern and modern in writings by, n. —work: So Far from God, , , , –, n. Catholicism, – Cervantes, Miguel de, , , , , , , , , ,  Chabram, Angie,  Chanady, Amaryll Beatrice,  characters: Acosta-as-character in Autobiography of a Brown Buffalo, –; in Castillo’s So Far from God, , , – , n.; curandera figure, –, , , ; in Daughters of the Dust, , –; female characters in masculinist magicorealism, ; fourthspatialized characters in Rushdie’s works,  Postethnic Narrative Criticism Tseng 2002.12.24 08:40 6758 Aldama / POSTETHNIC NARRATIVE CRITICISM / sheet 148 of 157 –; in García Márquez’s Cien años de soledad, , –, , , , , , , ; in magical realism generally, ; in magicorealism generally, , , ; in mimesis-as-play genre generally , ; in Rushdie’s novels, , , , , –, n., n.; in Sammy and Rosie Get Laid, , –, , – ; trickster/pícaro character, , , , , , –, –, , , . See also specific works Chaudhuri, Amit,  Chavez, Denise, , ,  Cheney-Coker, Syl,  Chiampi, Irlemar, n. Chicana/o fiction, , –, , – , n., n.. See also Latina/o fiction; specific authors Christian, Karen,  Christie, John S., n. Cien años de soledad (García Márquez): capitalism in, –; characters and narrator in, , –, , , , , , , ; class in, ; ending of, ; female characters in, ; language of, nn.–; Macondo in, , – , –; and mimesis-as-play, , , ; narrative filtering device in, n.; pícaro spirit in, ; playfulness of, ; praise and criticism for generally , , n.; Rabassa on, ; rain of yellow flowers in, ; significance of, , , , n. class, , ,  colonialism and imperialism, –, , , , , , , , –n., n.. See also postcolonialism Columbus, Christopher, , , –, n. comic versus tragic, , n. comical epic form,  Communist Manifesto (Marx),  conforming magicorealistas, – Connor, Steven,  convention of fictionality,  converso Jews, n. Cooper, Brenda, –, ,  Cops,  Cortázar, Julio, , n. Cosmographiae Introductio (Waldseem üller),  creation stories, –, n. Cunningham, Valentine,  curandera, –, , ,  Dash, Julie: and capitalist book and film marketplace, ; characters and narrators of, , ; compared with Kureishi/Frears, –; and Daughters of the Dust, , , , , –, –; and epic form, , ; and intertextuality, ; magicorealism in films of, , –, –, ; and mimesis-as-play,  Daughters of the Dust: camera-narrator in, , , –; compared with Sammy and Rosie Get Laid, –; dialogue between two voice-overs in, –; epic tone in, , ; female characters in, , –, ; Ibo Islands in...