The authors selected are, in general, offering ironic reprises of familiar thematic and stylistic Borgesisms. Filer is less concerned with cultural context than with texts' implied statements about textuality as she looks at Borges in the work of two non-Argentines, Salvador Elizondo and Severo Sarduy. Like Morello-Frosch, Filer obtains fine results working from the premise that later writers confront Borges whether they opt to continue his project, to attempt to abort it, or to use elements of that project against Borges's original intentions.
Barrenechea's lead article, though a bit brief, usefully sketches out aspects of Borges that mostdraw successors. Alazraki gives a laudably plain explanation of the much-remarked parallelism between Borges's implied theoretical propositions and twentieth-century formalisms. Rapaport deserves praise for his step-by-step, unpretentious examination of Borges and Paul De Man; O'Sullivan, too, shows respect for logic as he views Borges and Michel Foucault.
Lalhacar and Collin will be best appreciated by those with a taste for poetic ambiguity in criticism. Inevitably, there is some unevenness. Jerry Varsava and Geoffrey Green are conscientious analysts, but face the inherent disadvantage that the writers they juxtapose with Borges Italo Calvino and recent U. The final section allows Alzenberg to combine her familiarity with Jewish styles of thinking about textual issues with her knowledge of Borges.
She coordinates the ideas Borges derives from Judaic tradition with the idiosyncratically Jewish thought infused into literary theory and criticism by Derrida, Geoffrey Hartman, Bloom, et al. This fine piece opens, rather than exhausts, its topic.
The volume closes with two Borges essays that may take some imagination to see as being about successors: on Job and Spinoza. Borges and His Successors manages the unusual feat of being unfailingly interesting throughout its diverse parts. Beyond its contribution to Borges scholarship and studies of literary relations, it can be recommended as simply a great read.
Naomi Lindstrom University of Texas at Austin. Por todo ello este libro es lectura recomendada. Salvador A.
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Oropesa University of Hawaii at Manoa. Both known and lesser-known writers are interviewed.
Most frequently terms
Open interviewing structures of this kind have obvious advantages, one being the relative lack of ideological superimposition. Since care is taken to fill in biographical information, the interviews provide good reference to the chronology of the writer's life and works.
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So much critical work has remained to be done in Mexican theater that it is a pleasure to see the appearance of a book dedicated solely to playwrights' voices. Similar exposure of the public element -professional affiliations, editorial considerations- may also be found in Escritores The writers in Escritores The conceptual nature of his framework leads to comments which are indeed personally revealing and compelling, with or without autobiographical commentary.
One example of an interview in which the open-ended question works more against the author than for her is with Elena Poniatowska who, in an effort to record the facts, verbally lists the titles, historical referents and characters or story lines of all her books. On one hand, the very fact that she responds with a list of historical referents reveals a significant characteristic of her literary focus; on the other hand, the reader gleans very little else from the story about this woman who is herself a dedicated and provocative teller of other people's stories.
Visor de obras.
Precisely because of the focus, however, the resulting anecdotal style and the relative lack of conceptual framework on the part of both the interviewer and interviewee may ultimately be somewhat disadvantageous for the reader unfamiliar with the Mexican works discussed here. Second, the question arises as to whether the specific comments imparted in these conversationally-styled autobiographies are persuasive or engaging without some prior conceptual understanding of or empathy for the authors interviewed.
Whatever the considerations one might raise here, both Dramaturgos Of the many monographs published on Mario Vargas Llosa's works, Roy Charles Boland's is one of the two or three most original and informative. Boland states that although Vargas Llosa has, in interviews, alluded to his fascination with Freud, and that although critics have mentioned Freudian elements in Vargas Llosa's novels, these elements have never before been treated in depth.
After reading Boland's clear, perceptive analyses, most readers will wonder why this Freudian approach was not taken years ago. The critic further explains that the Oedipal struggle between the Peruvian masses and the army, church, and oligarchy. Thus in the former Alberto and Richi lose the patricidal struggle and end up symbolically castrated, Alberto by the military establishment an Richi by his father, whereas Jaguar wins the struggle when he cuckolds his godfather.
There is very little to criticize in this excellent study. Boland tends to repeat himself, increasing the lengh of his study -the number of pages in the book is misleading because the pages are large and the print small. But the end result is a highly recommended, brilliant analysis of one of today's most important writers.
Hispania. Volume 75, Number 2, May | Biblioteca Virtual Miguel de Cervantes
George R. McMurray Colorado State University. Cocuyo demands much of the reader. It follows in the same kaleidoscopic, experimental tradition seen in earlier Sarduy fiction, but it is less chaotic than his novel, Cobra. Todo asqueaba. Pero en el fondo There are moments of chronological disorder, especially in Chapter 11, when a Spanish colonial slave market takes place while Soviet experts disembark in Havana's harbor. Cocuyo is one of Sarduy's most accessible novels. It moderates his earlier tendencies and provides recognizable experiences that anyone who has passed through puberty can identify.
Harley D. Oberhelman Texas Tech University.
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The forging of a new category of magical realism is one of several perspectives from which Hart approaches her presentation of the fiction of Isabel Allende. Surprisingly Hart concludes that De amor y de sombra remains a magically feminist novel given its use of magic to call into question the role of women in Latin America But the argument is diluted by another of Hart's contentions, namely that throughout Allende's work, magic is used to question the entire concept of magical realism as a vehicle for discussing the problems of Latin America.
The hypothetical readings of Allende's texts, and the rhetorical questions raised 29 are, by far, too conjectural and lacking in theoretical support suppositional markers such as probably, perhaps, if, surely, may be abound to resolve postulates. Perhaps the most serious problem presented in the text, however, may be summed up in the frequent incursions into authorial intentionality. This is a work, however, that a student might best read as an introduction rather than as a culmination to studies in the fiction of Isabel Allende.
Sandra M. Boschetto Michigan Technological University. Splintering Darkness: Latin American Women Writers in Search of Themselves represents a welcome addition to the growing bibliography of works focusing on the increasing importance of Third World women writers. While Bassnett emphasizes the historical contribution of women to Latin American culture, the Guerra Cunningham compilation is, instead, theoretical.
It marks a conscious attempt to develop an alternative feminist critical discourse as opposed to hegemonic discourse and to deconstruct the mechanism and myths of the dominant system. Paradigm of the primal colonial literary scene, it is inverted by Partnoy in order to privilege the colonized. Manzor-Coats shows how Partnoy questions both the privileged place of the traditional Chronicler-Narrator of the Other and intra- and extra-textual power relations.
Gabriela Mora's essay on La nave de los locos shows how the Uruguayan Cristina Peri Rossi revalorizes marginal voices. Through an Erasmian inversion of the conventional meaning assigned to folly and madness, Peri Rossi defamiliarizes traditional concepts of masculinity, power, and authority.
As Mora suggests, Peri Rossi argues that in a society where torture and degradation are authoritatively sanctioned, it is the marginal, the ex-centric, the fool who must sail, however painfully, in search of harmony. She shows how Campos de-authorizes her male narrator's perspective and mode of narration. The result is a parodic inversion of the supposed objectivity he proffers against Celina's devious intuition.
Although Lagos-Pope limits herself to the analysis of Celina, her insights work very well for Campos's other novel Tiene los cabellos rojizos y se llama Sabina.
Campos here pinpoints the arbitrariness of her fictional male author who chooses whether or not he will even include the women he watches in his narrative. Campos contrasts this arbitrariness, which masks as objectivity, with her fictional female author's rejection of mimetic illusion as a logocentric falsification of reality. This undermining of the traditional privileging of the male voice is seen by Sharon Magnarelli to be a subversive strategy in the works of the Chilean Isabel Allende and the Argentinian Luisa Valenzuela.
Magnarelli discusses how these women pinpoint the disjunction and weakness of logocentric discourse by framing the male narrative voices by female voices; and Eliana S. Rivero shows that Isabel Allende even invents mythical ancestral female storytellers as models for her narrators. The domesticity of woman's space is also revalorized in the work of contemporary Latin American women writers. The open eroticism in these works thereby represents a menacing power to the patriarchal emphasis on feminine modesty.