Latino or Hispanic Literature of the US

Th is article examines Tânia Cypriano’s 2007 documentary,
Grandma Has a Video Camera. The one-hour film, recorded by members of the Lalau-Cypriano family using a home video camera, depicts the twenty-year story of their transnational movement and adaptation. The film, however, is much more than the story of one family; it is also emblematic of Brazilians’ immigration experiences in the United States during the 1980s and 1990s. The family’s back-and-forth movement between countries and cultures generates a range of perceptions, longings, and sentiments about their “homeland” and “Brazilianness.” It also provides us material to think about a new kind of contemporary immigration: transmigration. Applying a hemispheric (trans-American) perspective, this article complicates and deepens our understanding of transmigration, as well as of Brazilians’ relationship to other Latina/o communities.

This paper proposes an existentialist reading of The Line Becomes a River: Dispatches from the Border (2018), a memoir by former U.S. Border Patrol agent Francisco Cantú. Drawing upon Anya Topolski's political ethics of relationality, grounded in Emmanuel Levinas's notion of alterity and Hannah Arendt's concept of plurality, and Luna Dolezal's rereading of Jean-Paul Sartre's account of shame, it examines the triangulation of the personal, the intersubjective, and the public in Cantú's autobiographical act. The paper argues that by articulating its protagonist's experience from the perspective of both a law enforcer and an emotionally involved immediate observer of the hazards and horrors of undocumented immigration, Cantú's memoir negotiates subjectivity in relational terms, exposing complex human realities of the U.S./Mexico borderlands that signify the immigrant body as a product of alarmist discourses, illegal industries, and geopolitical mapping, and hence adds new perspectives to the human tragedy produced by the global economic apartheid. The paper also maintains that by turning the private lives of immigrants from abstractions into subjects of the polarizing (trans)national debate and foregrounding both its protagonist's and its readers' ethical and critical response, The Line Becomes a River affirms the existentialist view that the ability to sustain personal responsibility and relationality within a network of Others by making a conscious authentic choice is the ultimate signpost of our humanity and self-determination.

Nobody's Pilgrims is an adventure story about three teenagers, Turi, Molly, and Arnulfo, on the run from evil and unwittingly carrying even a greater menace in their stolen truck. The border goes beyond the border in a story about who belongs in the United States and how finding your place in this world is about finding the right person to be with you. A literary novel with the propulsion of a thriller, Nobody's Pilgrims both offers and questions the possibility of escape in America -- The Adventures of Huckleberry Finn meets No Country for Old Men. (Lee & Low Books: Cinco Puntos Press, 2022)

"The castoffs and castaways of Nobody's Pilgrims hit the road in search of the American Dream, a long shot made longer by the pack of human devils hot on their trail. In this superb novel, Sergio Troncoso gives us a fresh take not only on the great American road trip, but on the American Dream itself in all its glorious and increasingly fragile promise. The propulsive force of this novel, and the destination it ultimately brings us to, left me wanting more, and yet feeling completely satisfied. As only the best novels do."
--Ben Fountain, PEN/Hemingway award-winning author of Brief Encounters with Che Guevara

"In a world marked by cruelty, corruption, bigotry and disease, Troncoso shows us there's still room for love. With his finely honed prose style, he takes us on a journey across the country with three young hungry teens whose dreams are the only lifelines they have left. A powerful, compelling read."
--Octavio Solis, author of Retablos: Stories From a Life Lived Along the Border

"Eloquent, bold and terrifying, Nobody's Pilgrims is a fresh new take on the ancient themes of innocence pursued by evil, and of the young finding their way through a chaotic and uncertain world. Turi, Arnulfo and Molly are original and uniquely endearing, and they're a pleasure to travel with, even on such a frightening journey."
--Elizabeth Crook, author of Monday, Monday

"Nobody's Pilgrims offers a stark vision of a country whose social ills have sullied the path to the pursuit of happiness. Yet its intrepid protagonists Turi and Molly persevere, charting their own map and adapting, like generations of dreamers, immigrants, and adventurers before them, to the latest hurdles of our troubled world. Sergio Troncoso has given us a timely dystopian tale heavy with anguish but invigorated by resilience."
--Rigoberto González, author of Butterfly Boy: Memories of a Chicano Mariposa

TITLE / TITULO: Imposeida: (46 poemas)
Author: Mercedes de Acosta
Edited by Jesus J. Barquet and Carlota Caulfield
Prologue by Barquet and Caulfield
Translated from Engllsh to Spanish by Jesus J. Barquet, Carlota Caulfield, and Joaquin Badajoz.

Mercedes de Acosta (1893-1968), estadounidense de padre cubano y madre española, es aún, como escritora, una desconocida para el público hispanohablante, porque su poesía, su prosa y su teatro —escritos originalmente en inglés— son prácticamente inexistentes en español y suelen ser opacados por su biografía amorosa —la autora fue amante de una constelación de relevantes artistas, tales como Eva Le Gallienne, Isadora Duncan, Greta Garbo y Marlene Dietrich—.

Imposeída (46 poemas) constituye la primera compilación y traducción al español de un conjunto significativo de sus tres poemarios publicados en vida. Entre temas íntimos y sociales, Mercedes de Acosta plasmó en Moods (1919, Mudanzas), Archways of Life (1921, Arcos de vida) y Streets and Shadows (1922, Calles y sombras) la experiencia urbana y homoafectiva de una época turbulenta y transgresora.

AVAILABLE / DISPONIBLE = CREATESPACE.COM  / and / AMAZON.COM
List Price:  US$11.95
LAS CRUCES: EDS. LA MIRADA, 2016
ISBN-13: 978-0991132546
ISBN-10: 0991132548
92 pp.
Poetry / Women Authors / Lesbian Poetry

Ilan Stavans’s anthologies, The Norton Anthology of Latino Literature (2010) and Growing Up Latino: Memoirs and Stories (1993), contribute to our contemporary discourses on latinidad. While this may not necessarily be the principal intention of these works, they participate in this polemical discourse by offering particular visions of Latino/a identity, capturing the controversies surrounding the community and its place in the United States, and propose an expansive definition of this community. Growing Up Latino, an anthology of short narrative pieces from established and up-and-coming Latino and Latina authors writing predominantly in English, is mostly a collection of coming-of-age stories in the United States. While this anthology represents a personal glimpse into the contemporary Latino/a experience, The Norton Anthology of Latino Literature has a more historical aim as it contains a diverse array of texts from the colonial period until the present day. Highlighted in the latter is a clear acknowledgement of the interconnectedness of Latino/a and Latin American identities. Meanwhile, Stavans’s participation and commentary on anthologies such as Se habla español: voces latinas en USA (2000) reveal an understanding of recent exclusions, namely contemporary Latin American authors publishing in Spanish, and the impact on Latino/a studies.

Hispanic settlers throughout the Americas deployed religious performances and dramatic acts to signify and to impose a sense of spiritual and cultural bond(age) to a new audience: the people they were seeking to conquer and subjugate. This enforced western aesthetics staged novel cultural performances of newfangled hierarchies of power. Colonial performances displaced, replaced, repressed and criminalized the cultural practices of the colonized native inhabitants after casting them first as pagan, and then increasingly as demonic.1 In many areas now incorporated into the U.S., from Puerto Rico to California, the cultural patterns of an emerging latinidad were fraught with the original sin of this bondage, a captivity presented as the cultural bond of a new community where colonial hierarchies of race, class, and gender determined the legitimacy of aesthetic knowledge(s) and practices. Throughout this chapter, I trace a number of performative acts in the long history of the colonization of the North American continent by evoking a fragmented narrative of cultural encounters. In this narrative, Hispanic colonizers and a diversity of indigenous peoples engaged in the tense production of mutual knowledge through corporal performance art ranging from military spectacle to religious acts to pantomime and drama. This framing of Hispanic/Latino culture in the colonial period and beyond as performed to a captive audience, for a public incarcerated within the matrix of colonial power, seated within the confines of the Western episteme and defined as a passive spectator in need of cultural, religious conversion, allows me to critically reflect on the ethos of performance and the archives of the public stage to further disclose their foundational epistemic violence. While the scattered archival records of over three hundred years of settlement and contact highlight the wide use of music, dance, as well as drama, as a tool for the theatricalization of the colonial regime, they also confirm their relevance as a

This essay offers a transmedial analysis of the figure of the flapper in Spanish-language media. Julio Arce’s chronicles, “Todo se arregla con Money” (“Money Solves It All,” 1924), “Cosas del Exhibition Day” (“The Small Things of Exhibition Day,”1924), and “La estenógrafa” (“The Stenographer,” 1925) and Alberto O’Farrill’s cartoons are analyzed in relation to the extensive press coverage of the 1920s modern girl. A range of comic forms is examined in little-known primary texts about the flapper in the leading US Spanish-language newspapers of the decade. The range of genres, which includes news, opinion columns, cartoons, cultural and social reviews, poems, and song lyrics demonstrate that satire about the flapper was to be found everywhere: in the press, on the radio, at cinemas, tent theatres, social events, and workplaces. Beyond derisive entertainment, humor is aimed at influencing readers’ opinions about US Hispanic women’s gender and ethnic restrictions.

This essay focuses on how a select few flash fictions are built by Latino authors and consumed by readers (Latino and otherwise) who share a common, deep ancestral evolution that has led to the growing of some fundamental cognitive and emotive biological mechanisms. It therefore turns to the insights offered by the research in the brain sciences and cognitive developmental psychology as well as to a specific analysis of several U.S. Latino flash fictions. In each flash fiction we shall see how these authors use language, narrative technique, and imagination to give in a few brushstrokes a representation of the full range of human emotions, moral dilemmas, and cognitive capabilities. Aldama opens the essay with the discussion of Monterroso's El dinosaurio as a primer of sorts to indicate what happens when readers encounter Latino narrative fiction generally and Latino short short fiction (flash fiction) specifically. While he focuses on the flash fiction created by U.S. Latinos, much of what he discusses below can reveal much about what readers do generally when they encounter narrative fiction. This could be seen in the short short format other than Latino flash fictions such as those from China known as "smoke-long stories" or from Japan known as "palm-of-the-hand stories." But it also applies more globally to any and all kinds of narrative fiction—novels, comic books, and films—and from all over the planet. That is, the exploration of Latino authored flash fiction can and does reveal much about how such all variety of narrative fiction blueprints trigger and then guide a complex array of our mind/brain's sense-making faculties.

Este libro presenta un estudio y edición crítica del poema Obra nuevamente compues- ta... (1571) de Bartolomé de Flores, considerado el primer poema en español sobre Norteamérica y el único testimonio poético de la victoria de Pedro Menéndez de Avilés sobre los hugonotes franceses en la Florida en 1565. El poema ofrece una de las primeras descripciones poéticas de la naturaleza y los indígenas norteamericanos en el siglo XVI. Se estudian las características formales de la obra, que pertenece al género literario de las relaciones de sucesos en verso impresas en pliegos de cordel. También se realiza una lectura detenida del poema para entender su importancia en la historia de la poesía colonial del siglo XVI. En fin, se incluye la reproducción facsímil del único ejemplar conocido de la obra, conservado en la John Carter Brown Library.

Throughout this chapter, I trace a number of performative acts in the long
history of the colonization of the North American continent by evoking a
fragmented narrative of cultural encounters. In this narrative, Hispanic
colonizers and a diversity of indigenous peoples engaged in the tense
production of mutual knowledge through corporal performance art ranging
from military spectacle to religious acts to pantomime and drama. This
framing of Hispanic/Latina/o culture in the colonial period and beyond as
performed to a captive audience, for a public incarcerated within the matrix
of colonial power, seated within the confines of the Western episteme and
defined as a passive spectator in need of cultural and religious conversion,
allows me to critically reflect on the ethos of performance and the archives of the public stage to further disclose this literature’s foundational epistemic violence. While the scattered archival records of over 300 years of settlement and contact highlight the wide use of music, dance, and drama, as tools for the theatricalization of the colonial regime, the records also confirm these arts’ relevance as a precious space for cultural survival and resistance for the colonized.

Part of Latinx Talk's Special Series on Latinx Migration Literature, this essay responds to the American Dirt controversy. Part book review, part pedagogical reflection, and part personal essay, the author discusses why she will always teach The Tattooed Soldier by Hector Tobar.

Amplia compilacion de la poesia inedita o dispersa de Mercedes Cortazar (La Habana, 1940), autora de "El largo canto", publicado en La Habana bajo Ediciones El Puente en 1961, y quien no publicaba libro de poesia desde 1965. Esta ORBES incluye 5 colecciones: "Tierra/ Agua/ Fuego", "Orbe Terrestre", "La Afrodita de Gnido", "Razon de Eros", y "Naturaleza en el espejo". La compilacion critica se debe a Jesus J. Barquet, y tiene un prologo de Alberto Abreu Arcia. Las ilustraciones del libro se deben a Andree Conrad. Las Cruces, NM: Ediciones La Mirada, 2017. 168 pp. / ISBN: 978-0-9911325-5-3. / Disponible en Amazon.com y Createspace.com.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Pero borrar todas las huellas del ingl?s en la traducci?n?aun si fuera capaz de hacerlo?ser?a tan falso como haber borrado todas las huellas del espa?ol en el original. Para bien o para mal, existo en dos idiomas, y si el espa?ol me hace mucha falta, no menos falta me hace el ingl?s. (Gustavo P?rez Firmat, El a?o que viene estamos en Cuba ii) Mis sue?os son una mezcla de espa?ol e ingl?s que todos entien? den, que expresa lo que quiero decir, qui?n soy, lo que siento. En ese mundo oscuro, el idioma no importa. Lo que importa es que tengo algo que decir y puedo hacerlo sin tener que redactarlo para mis oyentes. (Esmeralda Santiago, Cuando era puertorrique?a xvi) [L]a revelaci?n divina requiere una disparidad, la aceptaci?n de una alteridad radical, el reconocimiento de una extranjeridad que de primera instancia parecer?a la m?s degradada. (Kristeva, Nations without Nationalisms 24) El horizonte conceptual que orienta esta reflexi?n es por una parte, una m?quina de traduc? ci?n que est? en pleno funcionamiento facilitando el intercambio simb?lico entre el primer y el tercer mundo, entre el occidente y ?l oriente (los orientes).1 El concepto de m?quina lo adapto del de la m?quina de guerra de Deleuze y Guattari en Mille Plateaux, el mismo que recicl? Ben?tez Rojo en La isla que se repite y que Michael Hardt y Antonio Negri rearticularon en otro registro: lUna versi?n preliminar de este ensayo fue presentado en la Serie de Conferencias en el Departamento de Espa?ol y Portugu?s de la Universidad de Yale. Agradezco la discusi?n que tom? lugar en dicho espacio. Adem?s, adelanto que este ensayo dialoga directamente con el texto Life on the Hyphen; The Cuban-American Way, de Gustavo P?rez Firmat, que sirve de contra? punto a la manera en la que entiendo la traducci?n como locus de la producci?n cultural, sobre todo y el objeto que media el intercambio simb?lico a nivel global.

Hispanic settlers throughout the Americas deployed religious performances and dramatic acts to signify and to impose a sense of spiritual and cultural bond(age) to a new audience: the people they were seeking to conquer and subjugate. This enforced western aesthetics staged novel cultural performances of newfangled hierarchies of power. Colonial performances displaced, replaced, repressed and criminalized the cultural practices of the colonized native inhabitants after casting them first as pagan, and then increasingly as demonic.1 In many areas now incorporated into the U.S., from Puerto Rico to California, the cultural patterns of an emerging latinidad were fraught with the original sin of this bondage, a captivity presented as the cultural bond of a new community where colonial hierarchies of race, class, and gender determined the legitimacy of aesthetic knowledge(s) and practices. Throughout this chapter, I trace a number of performative acts in the long history of the colonization of the North American continent by evoking a fragmented narrative of cultural encounters. In this narrative, Hispanic colonizers and a diversity of indigenous peoples engaged in the tense production of mutual knowledge through corporal performance art ranging from military spectacle to religious acts to pantomime and drama. This framing of Hispanic/Latino culture in the colonial period and beyond as performed to a captive audience, for a public incarcerated within the matrix of colonial power, seated within the confines of the Western episteme and defined as a passive spectator in need of cultural, religious conversion, allows me to critically reflect on the ethos of performance and the archives of the public stage to further disclose their foundational epistemic violence. While the scattered archival records of over three hundred years of settlement and contact highlight the wide use of music, dance, as well as drama, as a tool for the theatricalization of the colonial regime, they also confirm their relevance as a

Resumen: Este artículo analiza la representación literaria de las experiencias de violencia de las mujeres del Oeste americano actual. La fuente escogida es la novela coral El mapa de los afectos (2020) de Ana Merino, construcción ficcional que ofrece una perspectiva española y migrante de los Estados Unidos. Tomando como punto focal del estudio a las protagonistas de la novela, se exploran los diferentes perfiles de mujer construidos atendiendo a la interseccionalidad de factores como su origen nacional y/o étnico y clase social, así como los diversos constructos culturales y contextuales que generan la violencia.

Abstract: This article analyzes the literary representation of violence experienced by women in the current American West. The selected primary source is the choral novel El mapa de los afectos (2020) by Ana Merino, a fictional product that provides a Spanish migrant's perspective on the United States. Moreover, this research explores the construction of several types of women taking into account the intersection of elements such as national origin, ethnicity, and social class. Furthermore, it analyses the contextual and cultural constructs that promote violence.

Keywords: Women and violence; American West; El mapa de los afectos; Ana Merino; Interseccionalidad

Sumario: Introducción. 1. Amor romántico. 2. Fundamentalismo religioso 3. Mercantilización. 4. Naturalización de la opresión. Conclusiones. Bibliografía.

* Este trabajo ha sido financiado por la beca "Zenobia Cambrubí" y se ha realizado en el marco del proyecto de investigación "Inmigración española en Estados Unidos (1880-1940)" del Instituto Franklin (UAH) y el Centre d'Estudis Demográfics (UAB).

At the beginning of the third decade of the 21st century, the Latino minority, the biggest and fastest growing in the United States, is at a crossroads. Is assimilation taking place in comparable ways to previous immigrant groups? Are the links to the countries of origin being redefined in the age of contested globalism? How are Latinos changing America and how is America changing Latinos?

Resumen: La noción de canon está frecuentemente asociada a la idea de lucha. Las obras que son suficientemente originales ganan el agón (o lucha) con la tradición y pasan a formar parte del canon. La canonicidad no es inherente a un texto: es el resultado de las luchas de poder dentro de un sistema. Los cánones son el producto de la lucha por conseguir legitimidad artística. Si un canon es una lista de obras que se caracteriza por ser dinámica e imaginaria, ¿cómo podemos estudiarlo? Como las antologías generales incluyen una lista explícita de textos y autores considerados representativos de un canon determinado, su estudio permite abordar el estudio de la noción elusiva de "canon". Primero, se ofrecerá un recorrido por varias definiciones del concepto de "canon" para explorar su complejidad e identificar a los agentes que participan en su formación. Luego, se presentará un resumen del análisis de seis antologías de literatura latina de Estados Unidos para examinar algunas de las dificultades que surgen en la delimitación de este canon.
Abstract: The notion of canon is often associated to struggle. Works that are original enough win the agon (or struggle) with tradition and join the canon. Canonicity is not inherent in a text: it is the outcome of power struggles within a system. Canons result from the struggle to achieve artistic legitimacy. If a canon is a dynamic and imaginary list of works, how may it be studied? Since general anthologies offer an explicit list of texts and authors which are considered representative of a certain canon, they offer a way to tackle the study of this elusive notion. The first part of this paper offers an overview of several definitions of the notion of canon, in order to explore the complexity of this notion and to identify the agents which participate in its formation. The second part presents a summary of the analysis of six Latino literature anthologies to examine some of the difficulties that arise in the delimitation of this canon.

ABOUT THIS BOOK This collection of essays, by fifteen scholars across diverse fields, explores forty years of writing by Giannina Braschi, one of the most revolutionary Latinx authors of her generation. Since the 1980s, Braschi's linguistic and structural ingenuities, radical thinking, and poetic hilarity have spanned the genres of theatre, poetry, fiction, essay, musical, manifesto, political philosophy, and spoken word. Her best-known titles are El imperio de los sueños, Yo-Yo Boing!, and United States of Banana. She writes in Spanish, Spanglish, and English and embraces timely and enduring subjects: love, liberty, creativity, environment, economy, censorship, borders, immigration, debt, incarceration, colonialization, terrorism, and revolution. Her work has been widely adapted into theater, photography, film, lithography, painting, sculpture, comics, and music. The essays in this volume explore the marvelous ways that Braschi's texts shake upside down our ideas of ourselves and enrich our understanding of how powerful narratives can wake us to our higher expectations.

AUTHOR BIOGRAPHY Frederick Luis Aldama is distinguished university professor at the Ohio State University with a joint appointment in Spanish and Portuguese as well as faculty affiliation in film studies and the Center for Cognitive and Brain Sciences. He is the award-winning author, co-author, and editor of over 40 books and the editor of 9 book series. For more on Aldama visit https://professorlatinx.osu.edu/.

Tess O'Dwyer won the Columbia University Translation Center Award for her rendition of Giannina Braschi's postmodern poetry epic Empire of Dreams and translated Braschi's Spanglish classic Yo-Yo Boing! as well as Martin Rivas by Alberto Blest Gana.

If you have ever felt your heart flutter at the sight of your crush or suffered from a heart broken by betrayal, then you have a visceral understanding that emotions are firmly ensconced in the heart. Scientists, however, describe the heart as an organ and say "heartache" is a metaphor for a neurochemical reaction. Nilo Cruz's allegorical drama now at GALA Hispanic Theatre, Exquisita Agonía, mines both perspectives, prodding the audience to consider which has more weight.

Una entrevista con el autor y profesor Ilan Stavan donde se toma como eje su participación en la antología de cuento Se habla español: voces latinas en USA (Alfaguara 2000) coordinada por los escritores Edmundo Paz Soldán y Alberto Fuguet, pero que abarca temas tan variados como su llegada a Estados Unidos; su estado anfibio como escritor en español e inglés; la traducción; los latinos en EEUU; el spanglish; la crítica literaria; e incuso otras antologías como McOndo (Fuguet y Gómez,1996).

Ebben a könyvben egyfelől bemutatom az amerikai jogrendszer és jogi kultúra több sajátosságát, amely segíthet megérteni az európai kontinensről nézve sajátos amerikai gondolkodást. Mindenkinek ajánlom a könyvet, aki a latínók nagy társadalmi kérdésének több árnyalatát szeretné megismerni. Ez a munka kiegészíti az eddigi gazdasági, politikai és nyelvészeti elemzéseket azzal, hogy e színterek között szintetizál. Ezenkívül, ez a könyv kiemeli azt, hogy az ember kulturális gyökerei olyan fontos kérdést jelentenek, amelyek akár a gazdasági érdekeket is át tudják törni