Abstract

This article focuses on the ways that Jessica Hagedorn uses the trope of childhood innocence to appropriate President William McKinley's infantilizing rhetoric of colonialism. Through her expatriate narrator's nostalgia for an innocent Philippines populated by childlike characters, Hagedorn cedes authentic history to the corrosive powers of assimilationism and consumerism. Along with the possibilities for a knowable history, however, Dogeaters also forsakes the comforts innocent "memories." The novel ends by accepting multiple stories of history's loss instead.

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Additional Information

ISSN
1096-8598
Print ISSN
1097-2129
Pages
pp. 27-50
Launched on MUSE
2005-04-04
Open Access
No
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