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This article participates in debates surrounding the ethics of international travel through analysis of contemporary short fiction by Dominican writer Aurora Arias, and Cubans Alberto Guerra Naranjo and Mylene Fernández Pintado. Through characters who are local and foreign writers and scholars, these works highlight the ethics and politics of mobility existing in transnational encounters, and the ramifications for the creative process of Caribbean cultural workers. I examine what these works communicate about the struggle of Caribbean cultural workers to be recognized and heard by their counterparts based in North America and Europe, as well as a broader readership. Arias and Guerra employ metafictional elements to critique and challenge feelings of illegitimacy, while all three writers use humor to turn the tables on power relations and inspire reflection on the possibility of ethical encounters, and even collaboration, between local and foreign intellectuals.

[...]while he figured as the general editor, Kroetsch turned to his colleagues in Canada for the actual editorial work: [...]if postmodernism identified to Kroetsch and Spanos a global revolutionary movement set to debunk any form of dominant thinking, that \"desperate risking\" is indeed what Kroetsch would do in his own writing. 2.Postmodern Practices: From the Prairies to the West Coast Kroetsch's poetics and his cultural affiliations are of a piece. Among the techniques used to break away from formal constrictions are the inclusion, explicit or implicit, of other texts; allusion to the socio-cultural contexts outside the book; use of vernacular idiom; deliberate intrusion of nonsense into the poem; abundance of visual play with language, of puns, or hyperbolic and digressive narrative strategies. [...]Kroetschs poetic language, growing out of an oblique relation to cultural and literary authorities, works through absence and resistance while it attempts a new language. From the moment he ventures into FIELD COMPOSITION-puts himself in the open- he can go by no track other than the one the poem under hand declares, for itself. [...]he has to behave, and be, instant by instant, aware of some several forces just now beginning to be examined.

The article argues that the transnational turn in American studies was born out of the demise of socialist Eastern Europe. To this day, the region has remained the unacknowledged generative transnational space that enabled the international reorientation of American studies. The article demonstrates that the work of the New Americanists is a distinct product of the first postsocialist decade. Special attention is devoted to the methodological writings of Donald Pease, one of the founders of the new field, and to the formative influence of F. O. Matthiessen’s 1947 journey to Czechoslovakia on his political radicalization. The article concludes that the demise of Eastern Europe, a prototypical transnational realm, has facilitated the transnational turn in American studies toward investigations of US imperial practices in other geographical locales.

Kurt Vonnegut is admitted as a great master of postmodern writer. Vonnegut’s success is mainly attributed to his unique narrative approaches, various expressive methods and dramatic artistic effects. The application of metafiction is particularly obvious and significant in his novels. Slaughterhouse-Five is one of typical examples of the successful adoption of metafiction. The metafiction of Vonnegut’s style, applied in Slaughterhouse-Five, shows itself in three distinctive approaches—non-linear narrative, collage and parody. Based on postmodern narrative theory, the application of these three distinctive narrative techniques will be analyzed in details in this thesis. The analysis mainly includes the reasons why they are applied in the novel and the functions how they work. The paper is mainly divided into five parts. Relevant information of Vonnegut, postmodern metafiction and previous researches are introduced in the first chapter. After getting better acquainted with basic knowledge, three narrative methods of Vonnegut’s metafiction including non-linear narrative, collage and parody are separately and detailedly analyzed in the following three chapters. Every method applied in the novel deepens the anti-war theme, and then exposes war’s evilness and absurdity further. Finally, the last part is a conclusion which is an emphasis on effects of Vonnegut’s unique narrative techniques.

In his article \"World War I and the Idea of Progress in Powers's Three Farmers on Their Way to a Dance\" Karsten H. Piep reads Powers's 1985 debut novel as a critical reexamination of the dynamics and iconography of the early twentieth century that challenges the technological positivism espoused by many US neoconservatives during the 1980s, while insisting on the individual's interpretive powers to discern and release the ever present transformative potentials of history. Situating Three Farmers in the postmodernism debates of the 1980s, Piep argues that the novel succeeds in challenging the idea of history as linear progression, but ultimately fails to show how a critical engagement with the past might engender socially transformation action in the present

Arguing that the paradoxical nature of the vocal notion and of the model of oral performance in narrative fiction is further accentuated in postmodern American narrative, this essay examines some of the implications of such accentuation for poetics and aesthetics.