Postethnic narrative criticism : magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie / Frederick Luis Aldama.

Format:

Book

Author/Creator:

Aldama, Frederick Luis, 1969-

Language:

English

Subjects (All):

American fiction--20th century--History and criticism.

American fiction.

Magic realism (Literature).

American fiction--Minority authors--History and criticism.

English fiction--Minority authors--History and criticism.

English fiction.

English fiction--20th century--History and criticism.

Literature and society--English-speaking countries.

Literature and society.

Ethnic groups in literature.

Minorities in literature.

Narration (Rhetoric).

Physical Description:

1 online resource (158 p.)

Edition:

1st ed.

Place of Publication:

Austin : University of Texas Press, 2003.

Language Note:

English

Summary:

Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. Frederick Aldama engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acosta's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria.

Contents:

Frontmatter

Contents

Preface

Acknowledgments

Introduction RETHREADING THE MAGICAL REALIST DEBATE

One REBELLIOUS AESTHETIC ACTS

Two DASH'S AND KUREISHI'S REBELLIOUS MAGICOREELS

Three OSCAR ''ZETA'' ACOSTA'S DE-FORMED AUTO-BIO-GRAPHÉ

Four ANA CASTILLO'S (EN) GENDERED MAGICOREALISM

Five SALMAN RUSHDIE'S FOURTHSPACE NARRATIVE RE-CONQUISTAS

Coda MAPPING THE POSTETHNIC CRITICAL METHOD

Notes

Works Cited

Index

Notes:

Bibliographic Level Mode of Issuance: Monograph

Includes bibliographical references (p. [123]-130) and index.

ISBN:

0-292-79770-2

OCLC:

297445284