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The only recent English-language work on Spanish-American indigenismo from a literary perspective, Estelle Tarica’s work shows how modern Mexican and Andean discourses about the relationship between Indians and non-Indians create a unique literary aesthetic that is instrumental in defining the experience of mestizo nationalism.
Engaging with narratives by Jesús Lara, José María Arguedas, and Rosario Castellanos, among other thinkers, Tarica explores the rhetorical and ideological aspects of interethnic affinity and connection. In her examination, she demonstrates that these connections posed a challenge to existing racial hierarchies in Spanish America by celebrating a new kind of national self at the same time that they contributed to new forms of subjection and discrimination.
Going beyond debates about the relative merits of indigenismo and mestizaje, Tarica puts forward a new perspective on indigenista literature and modern mestizo identities by revealing how these ideologies are symptomatic of the dilemmas of national subject formation. The Inner Life of Mestizo Nationalism offers insight into the contemporary resurgence and importance of indigenista discourses in Latin America.
Estelle Tarica is associate professor of Latin American literature and culture at the University of California, Berkeley.
Borges and Translation
It is well known that Jorge Luis Borges was a translator, but this has been considered a curious minor aspect of his literary achievement. Few have been aware of the number of texts he translated, the importance he attached to this activity, or the extent to which the translated works inform his own stories and poems. Between the age of ten, when he translated Oscar Wilde, and the end of his life, when he prepared a Spanish version of the Prose Edda , Borges transformed the work of Poe, Kafka, Hesse, Kipling, Melville, Gide, Faulkner, Whitman, Woolf, Chesterton, and many others. In a multitude of essays, lectures, and interviews Borges analyzed the versions of others and developed an engaging view about translation. He held that a translation can improve an original, that contradictory renderings of the same work can be equally valid, and that an original can be unfaithful to a translation. Borges's bold habits as translator and his views on translation had a decisive impact on his creative process. Translation is also a recurrent motif in Borges's stories. In "The Immortal," for example, a character who has lived for many centuries regains knowledge of poems he had authored, and almost forgotten, by way of modern translations. Many of Borges's fictions include actual or imagined translations, and some of his most important characters are translators. In "Pierre Menard, author of the Quixote," Borges's character is a respected Symbolist poet, but also a translator, and the narrator insists that Menard's masterpiece-his "invisible work"-adds unsuspected layers of meaning to Cervantes's Don Quixote . George Steiner cites this short story as "the most acute, most concentrated commentary anyone has offered on the business of translation." In an age where many discussions of translation revolve around the dichotomy faithful/unfaithful, this book will surprise and delight even Borges's closest readers and critics.
Transgressive Sexualities in the Caribbean Imagination
In Island Bodies, Rosamond King examines sexualities, violence, and repression in the Caribbean experience. She analyzes the sexual norms and expectations portrayed in Caribbean and diaspora literature, music, film, and popular culture to show how many individuals contest traditional roles by maneuvering within and/or trying to change their society’s binary gender systems. She skillfully argues and demonstrates that these transgressions better represent Caribbean culture than the “official” representations perpetuated by governmental elites and often codified into laws that reinforce patriarchal, heterosexual stereotypes.
Unique in its breadth and its multilingual and multidisciplinary approach, Island Bodies addresses homosexuality, interracial relations, transgender people, and women’s sexual agency in Dutch, Francophone, Anglophone, and Hispanophone works of Caribbean literature. Additionally, King explores the paradoxical nature of sexuality across the region: discussing sexuality in public is often considered taboo, yet the tourism economy trades on portraying Caribbean residents as hypersexualized.
Ultimately King reveals that despite the varied national specificity, differing colonial legacies, and linguistic diversity across the islands, there are striking similarities in the ways Caribglobal cultures attempt to restrict sexuality and in the ways individuals explore and transgress those boundaries.
Negotiating Sovereignty in Anglophone Caribbean Literature and Criticism
Recognizing that in the contemporary postcolonial moment, national identity and cultural nationalism are no longer the primary modes of imagining sovereignty, Sheri-Marie Harrison argues that postcolonial critics must move beyond an identity-based orthodoxy as they examine problems of sovereignty. In Jamaica’s Difficult Subjects: Negotiating Sovereignty in Anglophone Caribbean Literature and Criticism, Harrison describes what she calls “difficult subjects”—subjects that disrupt essentialized notions of identity as equivalent to sovereignty. She argues that these subjects function as a call for postcolonial critics to broaden their critical horizons beyond the usual questions of national identity and exclusion/inclusion. Harrison turns to Jamaican novels, creative nonfiction, and films from the 1960s to the present and demonstrates how they complicate standard notions of the relationship between national identity and sovereignty. She constructs a lineage between the difficult subjects in classic Caribbean texts like Wide Sargasso Sea by Jean Rhys and The Harder they Come by Perry Henzell and contemporary writing by Marlon James and Patricia Powell. What results is a sweeping new history of Caribbean literature and criticism that reconfigures how we understand both past and present writing. Jamaica’s Difficult Subjects rethinks how sovereignty is imagined, organized, and policed in the postcolonial Caribbean, opening new possibilities for reading multiple generations of Caribbean writing.
A national hero in Cuba and a champion of independence across Latin America, José Martí produced a body of work that has been theorized, criticized, and politicized. However, one of the most understudied aspects of his life remains his time in the United States and how it affected his attitudes toward racial politics. Martí saw first-hand the treatment of slaves in the Cuban countryside and as a young man in Havana had mourned the death of Lincoln. But it was in New York City, near the close of the century, where he penned his famous essay "My Race," declaring that there was only the human race. In the United States he encountered European immigrants and the labor politics that accompanied them, and he became aware of the hardships experienced by Chinese workers. Martí read in newspapers and magazines about the mistreatment of Native Americans and the adversity faced by newly freed black citizens. Anne Fountain argues that it was here--confronted by the forces of manifest destiny, the influence of race in politics, the legacy of slavery, and the plight and promise of the black Cuban diaspora--that Martí fully engaged with the specter of racism. Examining his entire oeuvre rather than just selected portions, Fountain demonstrates the evolution of his thinking on the topic, indicating the significance of his sources, providing a context for his writing, and offering a structure for his treatment of race.
Focusing on slave narratives from the Atlantic world of the eighteenth and early nineteenth centuries, this interdisciplinary collection of essays suggests the importance—even the necessity—of looking beyond the iconic and ubiquitous works of Olaudah Equiano, Frederick Douglass, and Harriet Jacobs. In granting sustained critical attention to writers such as Briton Hammon, Omar Ibn Said, Juan Francisco Manzano, Nat Turner, and Venture Smith, among others, this book makes a crucial contribution not only to scholarship on the slave narrative but also to our understanding of early African American and Black Atlantic literature.
The essays explore the social and cultural contexts, the aesthetic and rhetorical techniques, and the political and ideological features of these noncanonical texts. By concentrating on earlier slave narratives not only from the United States but from the Caribbean, South America, and Latin America as well, the volume highlights the inherent transnationality of the genre, illuminating its complex cultural origins and global circulation.
Exploring Madness and Medicine in Twentieth-Century Tropical Narratives
The sinister "jungle"that illdefined and amorphous place where civilization has no foothold and survival is always in doubtis the terrifying setting for countless works of the imagination. Films like Apocalypse Now, television shows like Lost, and of course stories like Heart of Darkness all pursue the essential question of why the unknown world terrifies adventurer and spectator alike. In Jungle Fever, Charlotte Rogers goes deep into five books that first defined the jungle as a violent and maddening place. The reader finds urban explorers venturing into the wilderness, encountering and living among the "native" inhabitants, and eventually losing their minds.
The canonical works of authors such as Joseph Conrad, Andre Malraux, Jose Eustasio Rivera, and others present jungles and wildernesses as fundamentally corrupting and dangerous. Rogers explores how the methods these authors use to communicate the physical and psychological maladies that afflict their characters evolved symbiotically with modern medicine. While the wilderness challenges Conrad's and Malraux's European travelers to question their civility and mental stability, Latin American authors such as Alejo Carpentier deftly turn pseudoscientific theories into their greatest asset, as their characters transform madness into an essential creative spark.
Ultimately, Jungle Fever suggests that the greatest horror of the jungle is the unknown regions of the character's own mind.
Nahua Intellectuals in Postconquest Mexico
New Nations and a Transatlantic Discourse of Empire
Why is the capital of the United States named in part after Christopher Columbus, a Genoese explorer commissioned by Spain who never set foot on what would become the nation's mainland? Why did Spanish American nationalists in 1819 name a new independent republic "Colombia," after Columbus, the first representative of empire from which they recently broke free? These are only two of the introductory questions explored in The Legacy of Christopher Columbus in the Americas, a fundamental recasting of Columbus as an eminently powerful tool in imperial constructs.
Bartosik-Velez seeks to explain the meaning of Christopher Columbus throughout the so-called New World, first in the British American colonies and the United States, as well as in Spanish America, during the eighteenth and nineteenth centuries. She argues that, during the pre- and post-revolutionary periods, New World societies commonly imagined themselves as legitimate and powerful independent political entities by comparing themselves to the classical empires of Greece and Rome. Columbus, who had been construed as a figure of empire for centuries, fit perfectly into that framework. By adopting him as a national symbol, New World nationalists appeal to Old World notions of empire.