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result(s) for
"Dominican Republic Fiction."
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Before we were free
In the early 1960s in the Dominican Republic, twelve-year-old Anita learns that her family is involved in the underground movement to end the bloody rule of the dictator, General Trujillo.
Book
The Cyborg Caribbean
Finalist for the Gordon K. and Sybil Lewis Award from the Caribbean Studies Association
The Cyborg Caribbean examines a wide range of twenty-first-century Cuban, Dominican, and Puerto Rican science fiction texts, arguing that authors from Pedro Cabiya, Alexandra Pagan-Velez, and Vagabond Beaumont to Yasmin Silvia Portales, Erick Mota, and Yoss, Haris Durrani, and Rita Indiana Hernandez, among others, negotiate rhetorical legacies of historical techno-colonialism and techno-authoritarianism. The authors span the Hispanic Caribbean and their respective diasporas, reflecting how science fiction as a genre has the ability to manipulate political borders. As both a literary and historical study, the book traces four different technologies—electroconvulsive therapy, nuclear weapons, space exploration, and digital avatars—that have transformed understandings of corporality and humanity in the Caribbean. By recognizing the ways that increased technology may amplify the marginalization of bodies based on race, gender, sexuality, and other factors, the science fiction texts studied in this book challenge oppressive narratives that link technological and sociopolitical progress.
eBook
The blood red sea
\" A Dan Shaw Thriller Dan Shaw has been practicing law only four months and he's already burned out. Add the fact that he's just lost his longtime girlfriend and the cops are scouring his dubious past, and it's no wonder that Shaw decides to set sail for the summer and get away from it all. But even alone in the middle of the sea, trouble finds him--in the enticing form of Katherine Adams. When Shaw hauls her out of the ocean, she's naked, nearly drowned, and has little memory as to how she got that way. But the real story is even more twisted. Her husband, Cesar Cardinal, is a diplomat, a playboy, and a high-stakes gambler. He's feigned his wife's suicide at sea and taken their young son to a heavily armed compound in the Dominican Republic, where U.S. law can't touch him. But that's not going to stop Shaw, who can't deny his feelings for Katherine. From Bell Harbor to Santo Domingo, he's baiting a trap with his own life. and there's no telling what he'll catch\"-- Provided by publisher.
Book
Bombs, Bodies, and Ghosts: Navigating Rhetorical Legacies of Nuclear Technology in Recent Caribbean Science Fiction
This article examines the rhetorical power of nuclear weapons, and how recent Caribbean science fiction has challenged popular nuclear archives. Dominican author Rey Emmanuel Andújar’s story “Gameon” (2014), speculates on the environmental, human, and geopolitical effects of nuclear war. Next, Cuban author Yasmín Silvia Portales’s story “Las extrañas decisiones de Vladimir Denísovich Jiménez” (2016), asks if there is a place for queerness within a power structure based on nuclear supremacy. Finally, Cuban author Erick Mota’s novella Trabajo Extra (2014) uses radioactive materials to discuss labor exploitation and alternative modes of development. These texts challenge colonizing nuclear rhetoric by creating spaces for proper mourning and remembrance.
Journal Article
Islandborn
\"Lola was just a baby when her family left the Island, so when she has to draw it for a school assignment, she asks her family, friends, and neighbors about their memories of her homeland...and in the process, comes up with a new way of understanding her own heritage\"-- Provided by publisher.
Book
“The One Who Comes from the Sea”: Marine Crisis and the New Oceanic Weird in Rita Indiana’s La mucama de Omicunlé (2015)
Caribbean literature is permeated by submarine aesthetics registering the environmental histories of colonialism and capitalism. In this essay, we contribute to the emergent discipline of critical ocean studies by delineating the contours of the “Oceanic Weird”. We begin with a brief survey of Old Weird tales by authors such as William Hope Hodgson and, most famously, H.P. Lovecraft, who were writing in the context of a world still dominated by European colonialism, but increasingly reshaped by an emergent US imperialism. We explore how these tales are both ecophobic and racialized, teeming with fears of deep geological time and the alterity of both nonhuman life and non-European civilizations, and argue that they register the oil-fuelled, militarised emergence of US imperial naval dominance. Subsequently, we turn to Rita Indiana’s neo-Lovecraftian novel, La mucama de Omicunlé [Tentacle, trans. Achy Obejas 2019], set in the Dominican Republic, as a key example of the contemporary efflorescence of ecocritical New Weird Caribbean fiction. We explore how the novel refashions Oceanic Weird tropes to represent the intertwining of marine ecological crisis in an era of global climate emergency with forms of oppression rooted in hierarchies of gender, sexuality, race, and class.
Journal Article
Flowers in the sky
\"Fifteen-year-old Nina immigrates from the Dominican Republic to New York to live with her older brother and must reconcile the realities of Washington Heights with the dreams of the U.S. her mami envisioned for her\"--Provided by publisher.
Book
Beyond resistance in Dominican American women’s fiction: Healing and growth through the spectrum of quietude in Angie Cruz’s Soledad and Naima Coster’s Halsey Street
The Dominican Republic and its relationship with Dominican America have often been studied in relation to the brutal regime of Rafael Trujillo, tíguere masculinity, and the political sphere. Writers like Julia Álvarez and Junot Díaz, as well as anthologies of Dominican women’s writing, form a literary archive that conceives of women’s writing as a perpetual act of rebellion, mostly against Trujillo and Trujillista models of masculinity. Starting from Lorgia García-Peña’s conception of “contradiction” (2016) and Kevin Quashie’s The Sovereignty of Quiet (2012), this article argues that Angie Cruz’s Soledad (2001) and Naima Coster’s Halsey Street (2017) are a counter-archive of woman-centered, Dominican American narratives of return dependent on feminized forms of expression and belonging—namely art, quiet, secrecy, surrender, and interiority. These novels reclaim the power of these acts and spaces along a spectrum of quietude, ranging from acts of alienation to tools for bonding, healing, and growth.
Journal Article
“Nothing ever ends”: Archives of Written and Graphic Testimony in The Brief Wondrous Life of Oscar Wao
This article reads The Brief Wondrous Life of Oscar Wao (2007) as a critique of metatestimonial fiction and of the tendency to overstate literature’s power to heal cultural traumas. Metatestimonio bears figurative witness to historical atrocities and interrogates who is or is not allowed to speak of such events. Although Junot Díaz’s narrator Yunior gathers testimony from multiple survivors of the Trujillo regime, he mediates their experiences through his own authorial voice. The novel suggests that in refusing to allow testimony to speak for itself, Yunior (and by extension metatestimonio as a genre) replicates the discursive practices of the regime it denounces. Furthermore, by referencing specific comic book series, the artwork accompanying the 2007 Riverhead edition of the novel generates a counter-narrative critiquing Yunior’s project. This graphic counter-narrative illustrates that ending the Trujillato’s hold on Dominicans is impossible—that certain traumas cannot be healed once and for all. Oscar Wao thus suggests that in claiming literature’s power to heal the past, we (like Yunior) privilege our own desire for resolution over the lived realities of survivors, for whom the working through of trauma is an ongoing and incomplete process.
Journal Article