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Afro-Cuban Costumbrismo Cover

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Afro-Cuban Costumbrismo

From Plantations to the Slums

Rafael Ocasio

Costumbrismo, which refers to depictions of life in Latin America during the nineteenth century, introduced some of the earliest black themes in Cuban literature. Rafael Ocasio delves into this literature to offer up a new perspective on the development of Cuban identity, as influenced by black culture and religion, during the sugar cane boom.

Comments about the slave trade and the treatment of slaves were often censored in Cuban publications; nevertheless white Costumbrista writers reported on a vast catalogue of stereotypes, religious beliefs, and musical folklore, and on rich African traditions in major Cuban cities. Exploring rare and seldom discussed nineteenth-century texts, Ocasio offers insight into the nuances of black representation in Costumbrismo while analyzing authors such as Suárez y Romero, an abolitionist who wrote from the perspective of a plantation owner.

Afro-Cuban Costumbrismo expands the idea of what texts constitute Costumbrismo and debunks the traditional notion that this writing reveals little about the Afro-Cuban experience. The result is a novel examination of how white writers' representations of black culture heavily inform our current understanding of nineteenth-century Afro-Cuban culture and national identity.

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Afro-Cuban Tales

Lydia Cabrera

As much a storyteller as an ethnographer, Lydia Cabrera was captivated by a strange and magical new world revealed to her by her Afro-Cuban friends in early twentieth-century Havana. In Afro-Cuban Tales this world comes to teeming life, introducing English-speaking readers to a realm of tenuous boundaries between the natural and the supernatural, deities and mortals, the spiritual and the seemingly inanimate.

Here readers will find a vibrant, imaginative record of African culture transplanted to Cuba and transformed over time, a passionate and subversive alternative to the dominant Western culture of the Americas. In this charmed realm of myth and legend, imaginative flights, and hard realities, Cabrera shows us a world turned upside down. In this domain guinea hens can make dour Asturians and the king of Spain dance; little fat cooking pots might prepare their own meals; the pope can send encyclicals about pumpkins; and officials can be defeated by the shrewdness of turtles. The first English translation of one of the most important writers on African culture in the Americas, the collection provides a fascinating view of how African traditions, myths, stories, and religions traveled to the New World—of how, in their tales, Africans in the Americas created a New World all their own.

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After Machiavelli

"Re-writing" and the "Hermeneutic Attitude"

by Barbara Godorecci

After Machiavelli is an examination of the triangular relationship of "re-writing"-a dynamic process encompassing both creative newness and awareness of historical profundity"-the "hermeneutic attitude:' and Machiavelli's poiesis. Specifically, it addresses four questions: First, to what degree can we speak of intersection (interaction) among this triad? Second, what common ground do all three actually share? Third, in what particular manner do the act of "re-writing" and the "hermeneutic attitude" manifest themselves in the writings of Niccoli Machiavelli? And last, what bearing does this have on the reader, heir to Machiavelli's literary legacy?

After Representation? Cover

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After Representation?

After Representation? The Holocaust, Literature, and Culture

Edited by R. Clifton Spargo and Robert M. Ehrenreich

After Representation? explores one of the major issues in Holocaust studiesùthe intersection of memory and ethics in artistic expression, particularly within literature. Contributors examine the shifting cultural contexts for Holocaust representation and reveal how writersùwhether they write as witnesses to the Holocaust or at an imaginative distance from the Nazi genocideùarticulate the shadowy borderline between fact and fiction, between event and expression, and between the condition of life endured in atrocity and the hope of ameaningful existence.

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After Southern Modernism

Fiction of the Contemporary South

Matthew Guinn

A provocative reckoning of the challenging new direction southern literature has taken in the works of nine authors

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The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history.

This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors.

This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose.

Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.

Matthew Guinn, formerly an instructor of English at the University of Mississippi, has published articles on southern literature in Southern Quarterly, South Atlantic Review, and Resources for American Literary Study.

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After Testimony

The Ethics and Aesthetics of Holocaust Narrative for the Future

Edited by Jakob Lothe, Susan Rubin Suleiman, and James Phelan

After Testimony: The Ethics and Aesthetics of Holocaust Narrative for the Future collects sixteen essays written with the awareness that we are on the verge of a historical shift in our relation to the Third Reich’s programmatic genocide. Soon there will be no living survivors of the Holocaust, and therefore people not directly connected to the event must assume the full responsibility for representing it. The contributors believe that this shift has broad consequences for narratives of the Holocaust. By virtue of being “after” the accounts of survivors, storytellers must find their own ways of coming to terms with the historical reality that those testimonies have tried to communicate. The ethical and aesthetic dimensions of these stories will be especially crucial to their effectiveness. Guided by these principles and employing the tools of contemporary narrative theory, the contributors analyze a wide range of Holocaust narratives—fictional and nonfictional, literary and filmic—for the dual purpose of offering fresh insights and identifying issues and strategies likely to be significant in the future. In addition to the editors, the contributors are Daphna Erdinast-Vulcan, Sidra DeKoven Ezrahi, Anniken Greve, Jeremy Hawthorn, Marianne Hirsch, Irene Kacandes, Phillipe Mesnard, J. Hillis Miller, Michael Rothberg, Beatrice Sandberg, Anette H. Storeide, Anne Thelle, and Janet Walker.

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After the End of History

American Fiction in the 1990s

In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature.

At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.

After the Fall Cover

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After the Fall

War and Occupation in Irène Némirovsky's Suite française

Nathan Bracher

In this work, the first critical monograph on Suite française, Nathan Bracher shows how, first amid the chaos and panic of the May-June 1940 debacle, and then within the unsettling new order of the German occupation, Némirovsky's novel casts a particularly revealing light on the behavior and attitudes of the French as well as on the highly problematic interaction of France's social classes

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After Translation

The Transfer and Circulation of Modern Poetics Across the Atlantic

Ignacio Infante

Translation--from both a theoretical and practical point of view--articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American "modernism" based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic--namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico García Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.

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After Utopia

The Rise of Critical Space in Twentieth-Century American Fiction

Nicholas Spencer

By developing the concept of critical space, After Utopia presents a new genealogy of twentieth-century American fiction. Nicholas Spencer argues that the radical American fiction of Jack London, Upton Sinclair, John Dos Passos, and Josephine Herbst reimagines the spatial concerns of late nineteenth-century utopian American texts. Instead of fully imagined utopian societies, such fiction depicts localized utopian spaces that provide essential support for the models of history on which these authors focus. In the midcentury novels of Mary McCarthy and Paul Goodman and the late twentieth-century fiction of Thomas Pynchon, William Gaddis, Joan Didion, and Don DeLillo, narratives of social space become decreasingly utopian and increasingly critical. The highly varied "critical space" of such texts attains a position similar to that enjoyed by representations of historical transformation in early twentieth-century radical American fiction. After Utopia finds that central aspects of postmodern American novels derive from the overtly political narratives of London, Sinclair, Dos Passos, and Herbst.

Spencer focuses on distinct moments in the rise of critical space during the past century and relates them to the writing of Georg Lukács, Ernst Bloch, Antonio Gramsci, Hannah Arendt, Henri Lefebvre, Gilles Deleuze and Félix Guattari, and Paul Virilio. The systematic and genealogical encounter between critical theory and American fiction reveals close parallels between and original analyses of these two areas of twentieth-century cultural discourse.

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