Junot Diaz and the Decolonial Imagination

449 pages

English

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Duke University Press - Monica Hanna and Jennifer Harford Vargas and and José David Saldívar (Editors)

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The first sustained critical examination of the work of Dominican-American writer Junot Diaz, this interdisciplinary collection considers how Diaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing Diaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in Diaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate Diaz's writing in relation to American and Latin American literary practices and reveal the author's activist investments. The volume concludes with Paula Moya's interview with Diaz.Contributors: Glenda R. Carpio, Arlene Davila, Lyn Di Iorio, Junot Diaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, Jose David Saldivar, Ramon Saldivar, Silvio Torres-Saillant, Deborah R. Vargas

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États-Unis

USA

Informations

Publié par	Duke University Press
Date de parution	17 décembre 2015
Nombre de lectures	0
EAN13	9780822374763
Langue	English
Poids de l'ouvrage	31 Mo

Informations légales : prix de location à la page 0,1648€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Junot Díazand the Decolonial Imagination

Junot Díaz and the Decolonial Imagination M O N I C A H A N N A ,J E N N I F E R H A R F O R D V A R G A S ,andJ O S É D A V I D S A L D Í V A R ,Editors

d u k e u n î v e r s î T y pr e s s . . . d u r h a m a n d L on d on . . .    

à ô CôÉŝŝ CààôPûçàô Dàà jûô Dà à É Éçôôà ààô  ÉÉ  Môçà àà, jÉÉ àô Vààŝ, à jôŝè Dà Sàà. àÉŝ ç ïçûÉŝ ôàçà ÉÉÉçÉŝ à É. îsbn  (àçôÉ : à. àÉ) îsbn  (. : à. àÉ) îsbn  (Éôô) . Dà, jûô, [àÉ]—Cçŝ à ÉÉàô. . DÉçôôàô  ÉàûÉ. ï. àà, Môçà, Éô. ïï. àô Vààŝ, jÉÉ, [àÉ] Éô. ïïï. Sàà, jôŝè Dà, Éô. ps.î  '.—ç 

CôÉ à: É à ô jûô Dà  jàÉ ÉàÉ. ïûŝ àô çôô à àçôû à  AÉ . Éû.

Pôôŝ ô CàÉ  ÉÉ ûŝÉ Néôçôôîàîŝ à Cûûà Méôy: Nààîé î Chîçàà/ô à àîà/ô Fîçîô. UŝÉ  Éŝ ŝô ô É UÉŝ ô ïôŝ PÉŝŝ. CàÉ  àŝ ûŝÉ  à ÉàÉ ô meLus: Mûî-Ehîç îéàûé ô hé Uîé Sàéŝ, ô.  (à ): –. CàÉ  àŝ ûŝÉ,  à ŝ ôIÉ Éŝô, hé Sôçîà ïéàîé: Ràçé, Côŝé Réàî, à Côéôày îéày Cîîçîŝ Pàûà Môà, ©   É ôà ô ûŝÉÉŝ ô É Éà Sàô j. UÉŝ. A Rŝ ÉŝÉÉ. UŝÉ  É Éŝŝô ô Sàô UÉŝ PÉŝŝ; .ŝû .ô. CàÉ  àŝ ôà ûŝÉ hé Bôŝô Réîéw, jûÉ , . RÉÉ  Éŝŝô.

Contents

Acknowledgments                               vii

Introduction Junot Díaz and the Decolonial Imagination: From Island to Empire                              1 Monica Hanna, Jennifer Harford Vargas, and José David Saldívar

Part I. Activist Aesthetics

1 Against the “Discursive Latino”: On the Politics and Praxis of Junot Díaz’s Latinidad                             33 Arlene Dávila

2 The Decolonizer’s Guide to Disability                   49 Julie Avril Minich

3 Laughing through a Broken Mouth inThe Brief Wondrous Life of Oscar Wao                           69   Lyn Di Iorio

4 A Portrait of the Artist as a Young Cannibalist: Reading Yunior (Writing) inThe Brief Wondrous Life of Oscar Wao             89 Monica Hanna

Part II. Mapping Literary Geographies

5 Artistry, Ancestry, and Americanness in the Works of Junot Díaz    115 Silvio Torres-Saillant

6 This Is How You Lose It: Navigating Dominicanidad in Junot Díaz’sDrown147                            Ylce Irizarry

7 Latino/a Deracination and the New Latin American Novel        173 Claudia Milian

8 Dictating a Zafa: The Power of Narrative Form as Ruin-Reading    201 Jennifer Harford Vargas

Part III. Doing Race in Spanglish

9 Dismantling the Master’s House: The Decolonial Literary Imaginations of Audre Lorde and Junot Díaz                231 Paula M L Moya

10 Now Check It: Junot Díaz’s Wondrous Spanglish           257 Glenda R Carpio

11 A Planetary Warning?: The Multilayered Caribbean Zombie in “Monstro”                                 291 Sarah Quesada

Part IV. Desiring Decolonization

12 Junot Díaz’s Search for Decolonial Aesthetics and Love        321 José David Saldívar

13 Sucia Love: Losing, Lying, and Leaving in Junot Díaz’s This Is How You Lose Her351                         Deborah R Vargas

14 “Chiste Apocalyptus”: Prospero in the Caribbean and the Art of Power                                 377 Ramón Saldívar

15 The Search for Decolonial Love: A Conversation between Junot Díaz and Paula M                    391L Moya 

Bibliography                                 403 Contributors                                 425 Index                                     431

Acknowledgments

É ÉÉçûà àÉô ô ŝ ôô à ŝ ÉÉŝŝ  jûô Dà: A Sôŝû, ç É ôŝÉ à Sàô UÉŝ ô Mà  à , . WÉ àÉ É àû ô É ôà ŝûô É ÉçÉÉ ô É Sà ô çôû. SÉçIçà É ôû É ô à É ôô çÉÉŝ, ÉàÉŝ, à ôàŝ ô É çôûôŝ: Açà à Açà AÉçà SûÉŝ; AÉçà SûÉŝ; Aôôô; Aŝà AÉçà Sû Éŝ; CÉÉ ô CôààÉ SûÉŝ  RàçÉ à Eç; CÉÉ ô à AÉçà SûÉŝ; E CÉô Cçàô; Cçàôà SûÉŝ; É Càà ï ŝûÉ ô GÉÉ RÉŝÉàç; CôààÉ ÉàûÉ; CÉàÉ W; D ŝô ô ÉàûÉŝ, CûûÉŝ, à àûàÉŝ; Eŝ; Éç à ïàà; GÉà; ïÉà à à AÉçà CûûÉŝ; Sôçôô; MôÉ ôû à ÉàûÉ; NàÉ AÉçà SûÉŝ; Sàô ûàÉŝ CÉÉ; à àûÉ CÉÉ ô jÉŝ SûÉŝ. WÉ ôû àŝô É ô à É AÉ à ôÉ ÉÉ EôÉ ô ŝ ŝûô  ŝôŝô jûô Dàŝ Dŝ ûŝÉ ÉÉ ÉçûÉ à ôû ŝôŝû, àŝ É àŝ É OiçÉŝ ô É Pô ôŝ à É VçÉ Pôôŝ ô GàûàÉ Eûçàô ô É ŝûô. WÉ àÉ àçûà àÉû ô GûààûÉ Càô, E É, EÉà Màçàô SâÉ, EàûÉ MàÉ, EÉŝô jàÉ MàÉ, à jô Rô Rô ô ô É ÉÉçûà çôûôŝ ô ŝ ôÉç. WÉ ôû àŝô É ô ÉÉŝŝ ôû àÉçàô ô Sàà Gàô, ÉÉŝà jÉÉ, à

É Wàŝ ô É ôŝçà àŝŝŝàçÉ  É ŝôŝû. à, É àÉ ÉÉ ÉÉ ô É WŝŝôÉ à É Éôà ŝàF à DûÉ UÉŝPÉŝŝôàÉûŝŝôôàôÉûÉÉÉçÉ,à ô É àôôûŝ ÉÉÉŝ ô Éà É àûŝç  Éà çàÉ à ôFÉÉ à ôà ŝûÉŝôŝ ô Éŝô.

 acknowLedgmenTs

Introduction. Junot Díaz and the Decolonial Imagination From Island to Empire Monica Hanna, Jennifer Harford Vargas, and José David Saldívar

jûô Dàŝ ô ÉlÉçŝ à û  AÉçà ÉÉŝ ôà à ÉŝÉç à àÉà ÉàûÉ à çûûÉ. ûÉôÉ, É ÉŝÉ àççà Dà àŝ àçÉÉ àŝ à ààç çàÉ  É àÉ çûûà ŝÉÉ àôû É àçÉ ô àôŝàŝ  É Éà çàôŝ ô É UÉ SàÉŝ, É CàÉà, à à AÉçà. ŝ ôô ôFÉŝ É Iŝ çôÉçÉ Éà  ô jûô Dà ô ôû É à ôÉŝ ŝô  àà ŝ Éŝ ôû à É àÉ ô ÉŝÉŝ, çû ààÉ, ûÉÉ, àçà, ÉÉ, ŝà, à Éçôôà Éô. É àûôŝ àÉ Éûà ô É ôÉ ô Dàŝ ÉŝÉ ôŝÉ à ô çûÉ ÉôÉçà ÉàÉŝ à çà ôû àÉŝ çôôà ô ôÉ ô ûÉŝô. Dà ô àôà Éà, çûûà, à ççà Éô, É çôÉ àô ô É çàÉŝ ûçôÉŝ ô jûô Dàŝ É AÉçà ôŝ ô NÉ jÉŝÉ à É Dôçà RÉû ç àÉ çôŝûÉ  à ŝÉ ô Éçôçà çôôà çôçÉŝ ÉÉÉ É UÉ SàÉŝ à É GÉàÉ AÉŝ  É ôŝŝÉ. Aôû Dàŝ Iŝ ÉÉ ôôŝ àÉ àÉà É ô ŝ É çàôÉ àŝ à àŝÉ